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Submission declined on 28 July 2023 by
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talk). This submission's references do not show that the subject
qualifies for a Wikipedia article—that is, they do not show significant coverage (not just passing mentions) about the subject in published,
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secondary sources that are
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guidelines on the notability of people). Before any resubmission, additional references meeting these criteria should be added (see
technical help and learn about
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Alexandre Raymond (architect, drawer) | |
---|---|
Born | 22 January 1872 Constantinople |
Died | 16 mai 1941 (aged 69) Colombes |
Nationality | French |
Occupation(s) | Architect, drawer, cartographer, writer, illustrator |
Years active | 1900 -1940 |
Notable work | L'Art Islamique en Orient, La Basilique d'Ayia-Sophia de Constantinople, Théodora de Byzance (Islamic Art in the East, The Basilica of Ayia-Sophia of Constantinople, Theodora of Byzantium) |
Website | https://fr.wikipedia.org/wiki/Alexandre_Raymond |
Signature | |
Alexandre Marc Raymond, born on 22 January 1872 in Constantinople in Turkey and died on 16 May 1941 in Colombes in France, is a French Orientalist architect. After working in the field of Islamic art, he turned to Byzantine art. During the last twenty years of his life he undertook substantial work, in particular on Hagia Sophia (Αγία Σοφία).
Early life
Alexandre Marc Raymond was born on 22 January 1872 in Constantinople, in Turkey, at the time part of the Ottoman Empire. He was the son of Marc Raymond, architect, born in Constantinople in 1846, and Rose Valsamaki, Greek Orthodox, born in Cephalonia. As Alexandre was the eldest boy in the family, he would sign his works “ARAYMOND Aîné” (aîné meaning eldest in French) or “Alexandre M. RAYMOND”. He studied at the Turkish Fine Arts School in Constantinople where he was a student of Alexander Vallaury.
Architecture
Between 1893 and 1896, Alexandre Marc Raymond drew the blueprints for the Institute for sericulture development in Bursa, the working drawings for the completion of the Ankara Office and the construction plans for the Ottoman Public Debt Office in Adapazari.
In 1908, he published L’Art de la Construction en Turquie, (The Art of Construction in Turkey, published in French), a highly-precise technical volume of work, printed in Alexandria. “Alexandre Raymond’s passion for the history of architecture in Turkey is wonderfully illustrated in his research book Notes Pratiques et Résumés sur l‘Art de la Construction en Turquie (Practical Notes and Summaries of the Art of Construction in Turkey, published in French), where he describes the construction market, the equipment, materials, and employment conditions, as well as the legal provisions and regulations in the country.”
He partnered with his brother César who ran Librairie Raymond, a bookshop, where his written works were sold.
Alongside his incoming-generating activity as an architect, from the age of 16 (1888) until the age of 50 (1922), Alexandre Marc Raymond travelled around the Ottoman Empire and created reproductions of religious monuments and adornments. He also produced several plans of Constantinople. [1]
From 1910 to 1911, Alexandre Marc Raymond was Editor-in-chief of the de la Revue Technique d’Orient, a monthly technical journal in French, published for the first time in Constantinople in September 1910. [2]
End of the Ottoman Empire and leaving Constantinople
Between 1914-1918, the First World War caused the collapse of the Ottoman Empire and the arrival in power of the nationalist Mustafa Kemal Atatürk in Turkey. Greece moved to action to overthrow Mustapha Kemal. The Greco-Turkish War (1919-1922) broke out in 1919. The massacres of the Greek population living on Turkish soil compelled Alexandre Marc Raymond, whose Greek origin wife was threatened, to flee his native city [3] with his wife and children and leave everything behind. As he had French nationality, he headed for France.
Alexandre Marc Raymond arrived in France in 1922 and settled in Paris with his family, at 12 Rue du Helder in the 9th district. He was persuaded that he would resume his activities in Constantinople quickly. The family moved from the 9th district and settled in Vincennes, at 9 rue Eugène Loeil.
In 1922, he worked on publishing the first book of his Islamic art reproductions entitled Alttürkishe Keramik or L’Art islamique en Orient – Première Partie (Islamic Art in the East – Part One, published in French). [4]In 1923, with the financial backing of American millionaire Charles Crane, he commissioned the printing of L’Art islamique en Orient, Deuxième Partie (Fragments d’architecture religieuse et civile) (Islamic Art in the East, Part Two (Fragments of Religious and Civil Architecture)) and L’Art islamique en Orient, Troisième Partie (Islamic Art in the East, Part Three), published in French in Prague by the Printing House Schulz. [5]
In 1923, at the same time as publishing L’Art islamique, he published a volume on the treasures of Turkey, Une ville célèbre, l’Angora ou l’antique Ancyre (A Famous City, Angora or Antique Ancyra) once again with Schulz. This book is dedicated to the memory of Pierre Loti.
Alexandre Marc Raymond published Faïences décoratives de la Vieille Turquie (Decorative Faience in Ancient Turkey) through the Albert Morancé publishing house in Paris; a little book that reproduced some of the plates from L'Art Islamique en Orient and introduced new ones.
In 1928, financial hardships would once again compel Alexandre Raymond and his family to move and settle in 29 bis Villa de la Reine Henriette, still in the suburban town of Colombes.
Over the next two years, Alexandre Raymond worked on a colossal project that he considered to be his life’s work: La Basilique de Sainte Sophie (Αγία Σοφία) de Constantinople (The Basilica of Hagia Sophia of Constantinople). He used his knowledge of the monument, the work and notes left by his father, the architect Marc Raymond, and a substantial amount of art photos taken of the inside of the building. The undeniable originality of the drawings (ink, watercolour, gold-leaf and silver paintings) is that they represent Hagia Sophia before the Muslims covered it with lime mosaics. Only one drawing of Hagia Sophia, relating to the period when Alexandre Raymond took on his work, 1931, existed.
The entire work totals some 88 representations of various sizes. The drawings are complemented by the text describing Hagia Sophia (Αγία Σοφία) written by Procopius of Caesarea, the text of the Holy Wisdom, also known as Holy Sophia, Divine Wisdom, by Anonymous and a historic and descriptive text from the author.
Alexandre Raymond became interested in Christian art and developed a technique that required great rigour, which we could call “micro-mosaics”. By drawing from the texts written by Procopius of Caesarea, Constantine of Rhodes and Constantine Mazarius, he drew 35 representations of the Church of the Holy Apostles including an outstanding series of illustrations of the life of Christ.
General Gouraud granted his patronage for an exhibition that took place in the function hall of the town hall of the 13th district of Paris.
The exhibition entitled Visions féeriques d’Orient (Fantasy Perspectives of the East), grouped together some 172 plates [6]: 80 plates from the Basilique de Sainte-Sophie de Constantinople (Basilica of Hagia Sophia of Constantinople) and 92 plates from L'Art Islamique en Orient (Islamic Art in the East). Alexandre Raymond’s name was not mentioned on the cover of the exhibition brochure. [7] [8]
Alexandre Raymond created 55 plates grouped together under the title Essai de reconstitution de mosaïques byzantines (Attempt to reproduce Byzantine mosaics). He portrayed the most famous mosaics of Greek, Italian and Turkish churches. He used photos that he divided into segments and then scale reproduced down to the finest detail; a surprising technique that would much later on be known as “micro-mosaics”.
Pursuing with mosaics, he created 14 original illustrations of highlights of the life of Empress Theodora, his final work, which he completed on 12 March 1940 [9]
He moved home for the sixth time in the town of Colombes to a small one-bedroom apartment at 14 rue Victor Hugo. He died in total poverty, during the Occupation, on 16 May 1941 at the age of 69. He is buried in the Gabriel Péri Communal Cemetery in Colombes.
Alexandre Raymond’s “micro-mosaics” evoked contemporary-day pointillism and the yet-to-come pixellation. Alexandre Raymond worked with a plank of wood on his lap, a magnifying glass in one hand and a paintbrush or a dip pen in the other. He would cut the tip of the nib so he could reproduce the tesserae perfectly. Enlargements, now possible thanks to digitization, enable us to appreciate the quality of his work. [10]
Paintings, drawings and plans
An editor has marked this as a promising draft and requests that, should it go unedited for six months,
G13 deletion be postponed, either by making a
dummy/
minor edit to the page, or by improving and submitting it for review. Last edited by Karagil ( talk | contribs) 2 months ago. ( Update) |
Submission declined on 29 July 2023 by
Theroadislong (
talk). This submission's references do not show that the subject
qualifies for a Wikipedia article—that is, they do not show significant coverage (not just passing mentions) about the subject in published,
reliable,
secondary sources that are
independent of the subject (see the
guidelines on the notability of people). Before any resubmission, additional references meeting these criteria should be added (see
technical help and learn about
mistakes to avoid when addressing this issue). If no additional references exist, the subject is not suitable for Wikipedia.
Where to get help
How to improve a draft
You can also browse Wikipedia:Featured articles and Wikipedia:Good articles to find examples of Wikipedia's best writing on topics similar to your proposed article. Improving your odds of a speedy review To improve your odds of a faster review, tag your draft with relevant WikiProject tags using the button below. This will let reviewers know a new draft has been submitted in their area of interest. For instance, if you wrote about a female astronomer, you would want to add the Biography, Astronomy, and Women scientists tags. Editor resources
|
Submission declined on 28 July 2023 by
S0091 (
talk). This submission's references do not show that the subject
qualifies for a Wikipedia article—that is, they do not show significant coverage (not just passing mentions) about the subject in published,
reliable,
secondary sources that are
independent of the subject (see the
guidelines on the notability of people). Before any resubmission, additional references meeting these criteria should be added (see
technical help and learn about
mistakes to avoid when addressing this issue). If no additional references exist, the subject is not suitable for Wikipedia. Declined by
S0091 10 months ago. |
Alexandre Raymond (architect, drawer) | |
---|---|
Born | 22 January 1872 Constantinople |
Died | 16 mai 1941 (aged 69) Colombes |
Nationality | French |
Occupation(s) | Architect, drawer, cartographer, writer, illustrator |
Years active | 1900 -1940 |
Notable work | L'Art Islamique en Orient, La Basilique d'Ayia-Sophia de Constantinople, Théodora de Byzance (Islamic Art in the East, The Basilica of Ayia-Sophia of Constantinople, Theodora of Byzantium) |
Website | https://fr.wikipedia.org/wiki/Alexandre_Raymond |
Signature | |
Alexandre Marc Raymond, born on 22 January 1872 in Constantinople in Turkey and died on 16 May 1941 in Colombes in France, is a French Orientalist architect. After working in the field of Islamic art, he turned to Byzantine art. During the last twenty years of his life he undertook substantial work, in particular on Hagia Sophia (Αγία Σοφία).
Early life
Alexandre Marc Raymond was born on 22 January 1872 in Constantinople, in Turkey, at the time part of the Ottoman Empire. He was the son of Marc Raymond, architect, born in Constantinople in 1846, and Rose Valsamaki, Greek Orthodox, born in Cephalonia. As Alexandre was the eldest boy in the family, he would sign his works “ARAYMOND Aîné” (aîné meaning eldest in French) or “Alexandre M. RAYMOND”. He studied at the Turkish Fine Arts School in Constantinople where he was a student of Alexander Vallaury.
Architecture
Between 1893 and 1896, Alexandre Marc Raymond drew the blueprints for the Institute for sericulture development in Bursa, the working drawings for the completion of the Ankara Office and the construction plans for the Ottoman Public Debt Office in Adapazari.
In 1908, he published L’Art de la Construction en Turquie, (The Art of Construction in Turkey, published in French), a highly-precise technical volume of work, printed in Alexandria. “Alexandre Raymond’s passion for the history of architecture in Turkey is wonderfully illustrated in his research book Notes Pratiques et Résumés sur l‘Art de la Construction en Turquie (Practical Notes and Summaries of the Art of Construction in Turkey, published in French), where he describes the construction market, the equipment, materials, and employment conditions, as well as the legal provisions and regulations in the country.”
He partnered with his brother César who ran Librairie Raymond, a bookshop, where his written works were sold.
Alongside his incoming-generating activity as an architect, from the age of 16 (1888) until the age of 50 (1922), Alexandre Marc Raymond travelled around the Ottoman Empire and created reproductions of religious monuments and adornments. He also produced several plans of Constantinople. [1]
From 1910 to 1911, Alexandre Marc Raymond was Editor-in-chief of the de la Revue Technique d’Orient, a monthly technical journal in French, published for the first time in Constantinople in September 1910. [2]
End of the Ottoman Empire and leaving Constantinople
Between 1914-1918, the First World War caused the collapse of the Ottoman Empire and the arrival in power of the nationalist Mustafa Kemal Atatürk in Turkey. Greece moved to action to overthrow Mustapha Kemal. The Greco-Turkish War (1919-1922) broke out in 1919. The massacres of the Greek population living on Turkish soil compelled Alexandre Marc Raymond, whose Greek origin wife was threatened, to flee his native city [3] with his wife and children and leave everything behind. As he had French nationality, he headed for France.
Alexandre Marc Raymond arrived in France in 1922 and settled in Paris with his family, at 12 Rue du Helder in the 9th district. He was persuaded that he would resume his activities in Constantinople quickly. The family moved from the 9th district and settled in Vincennes, at 9 rue Eugène Loeil.
In 1922, he worked on publishing the first book of his Islamic art reproductions entitled Alttürkishe Keramik or L’Art islamique en Orient – Première Partie (Islamic Art in the East – Part One, published in French). [4]In 1923, with the financial backing of American millionaire Charles Crane, he commissioned the printing of L’Art islamique en Orient, Deuxième Partie (Fragments d’architecture religieuse et civile) (Islamic Art in the East, Part Two (Fragments of Religious and Civil Architecture)) and L’Art islamique en Orient, Troisième Partie (Islamic Art in the East, Part Three), published in French in Prague by the Printing House Schulz. [5]
In 1923, at the same time as publishing L’Art islamique, he published a volume on the treasures of Turkey, Une ville célèbre, l’Angora ou l’antique Ancyre (A Famous City, Angora or Antique Ancyra) once again with Schulz. This book is dedicated to the memory of Pierre Loti.
Alexandre Marc Raymond published Faïences décoratives de la Vieille Turquie (Decorative Faience in Ancient Turkey) through the Albert Morancé publishing house in Paris; a little book that reproduced some of the plates from L'Art Islamique en Orient and introduced new ones.
In 1928, financial hardships would once again compel Alexandre Raymond and his family to move and settle in 29 bis Villa de la Reine Henriette, still in the suburban town of Colombes.
Over the next two years, Alexandre Raymond worked on a colossal project that he considered to be his life’s work: La Basilique de Sainte Sophie (Αγία Σοφία) de Constantinople (The Basilica of Hagia Sophia of Constantinople). He used his knowledge of the monument, the work and notes left by his father, the architect Marc Raymond, and a substantial amount of art photos taken of the inside of the building. The undeniable originality of the drawings (ink, watercolour, gold-leaf and silver paintings) is that they represent Hagia Sophia before the Muslims covered it with lime mosaics. Only one drawing of Hagia Sophia, relating to the period when Alexandre Raymond took on his work, 1931, existed.
The entire work totals some 88 representations of various sizes. The drawings are complemented by the text describing Hagia Sophia (Αγία Σοφία) written by Procopius of Caesarea, the text of the Holy Wisdom, also known as Holy Sophia, Divine Wisdom, by Anonymous and a historic and descriptive text from the author.
Alexandre Raymond became interested in Christian art and developed a technique that required great rigour, which we could call “micro-mosaics”. By drawing from the texts written by Procopius of Caesarea, Constantine of Rhodes and Constantine Mazarius, he drew 35 representations of the Church of the Holy Apostles including an outstanding series of illustrations of the life of Christ.
General Gouraud granted his patronage for an exhibition that took place in the function hall of the town hall of the 13th district of Paris.
The exhibition entitled Visions féeriques d’Orient (Fantasy Perspectives of the East), grouped together some 172 plates [6]: 80 plates from the Basilique de Sainte-Sophie de Constantinople (Basilica of Hagia Sophia of Constantinople) and 92 plates from L'Art Islamique en Orient (Islamic Art in the East). Alexandre Raymond’s name was not mentioned on the cover of the exhibition brochure. [7] [8]
Alexandre Raymond created 55 plates grouped together under the title Essai de reconstitution de mosaïques byzantines (Attempt to reproduce Byzantine mosaics). He portrayed the most famous mosaics of Greek, Italian and Turkish churches. He used photos that he divided into segments and then scale reproduced down to the finest detail; a surprising technique that would much later on be known as “micro-mosaics”.
Pursuing with mosaics, he created 14 original illustrations of highlights of the life of Empress Theodora, his final work, which he completed on 12 March 1940 [9]
He moved home for the sixth time in the town of Colombes to a small one-bedroom apartment at 14 rue Victor Hugo. He died in total poverty, during the Occupation, on 16 May 1941 at the age of 69. He is buried in the Gabriel Péri Communal Cemetery in Colombes.
Alexandre Raymond’s “micro-mosaics” evoked contemporary-day pointillism and the yet-to-come pixellation. Alexandre Raymond worked with a plank of wood on his lap, a magnifying glass in one hand and a paintbrush or a dip pen in the other. He would cut the tip of the nib so he could reproduce the tesserae perfectly. Enlargements, now possible thanks to digitization, enable us to appreciate the quality of his work. [10]
Paintings, drawings and plans