Old friends


Published on Mar 26, 2020


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Chervil Ludwig Bemelmans is the story of a deer with the name of an herb, but it opens with a pine, an old pine that stands, now bare, but the statuary on the edge of a ravine.

"When it sprang up, emerald green, and full of hope, the pine tree, stretched clear its younger branches towards the sky"

Who would have expected the twist of fate to be born right on the edge of a cliff? But this version of the tree with Herman the cripple, far from giving up, he decided to simply grow lopsided, leaning towards the ground, broken, in short. The swagger of the straight and vigorous pine trees, perfect dazzles the eyes of the readers, but without acrimony our pine cannot do other than describe their fate: to be cut and processed into bridges, chairs, cots, matches...

"The pine tree all lopsided doesn't want one ever. Serves no purpose"

But the spirits of the elect are not related to the dynamics of the world and our pine, in its uniqueness, is a dowel crucial in the balance of his world: the shape of a hut, which caresses the undergrowth with aristocratic gentility, has a family, a deer, and his family, Chervil is called.

It starts like this the friendship between the Chervil, the deer especially fond of chervil, a fragrant, aromatic herb forest, and the pine that between its roots hides in bunches, friend.

Pine and Chervil, in short, are characterized as old: the Pine is mangy, Chervil leans to his friend to have a look at the valley below, and keep her grandchildren from the dangers, as if that relationship of care and mutual immediately became inclusive of all the others.

The symbiosis that was initially an exchange of attention and care, becomes in a few pages of a family relationship, the company is anything but impromptu.

"when the old tree and the deer are together, marked by bad weather the first, and all incanutito the second, it is difficult to distinguish the stage of the antlers from the branches, now bare of the pine"

And it is this state of attention that triggers the fast attainment of the apex of the story: a hunter sits next to your own Chervil. What can never, a incanutito deer and a old pine tree against a stalwart hunter?

Can. All of can.

In fact, the wrong, in virtue of his “malfattaggine” he manages to whisper to his friend a warning: we who are his branches sbilenchi to speak, its twisted roots to stumble irreparably the antagonist!

"Nooooooooo..... Help!"

Is moved Chervil in the rub to his friend, but that's not all, because the two old guys have other surprises in store for the future.

A story of friendship, a reflection of the environment (an obvious thematic contrappositiva man/nature, even if represented through a fairy-tale character's unusual in this role!) and a hymn to the mutual care. The style is joyful and clear that many perhaps will have appreciated in Madeline, the series is perhaps most famous Bemelmans, located in Chervil in a calm tone and fairy-tale, but innervated, however small, joyful surprises and ironic solutions, typical of his narrative tone.

The style naïve Bemelmans offers tables full of color, pienissime, sometimes marked by mild signs of a pen or pencil, a “full” that may seem crude, however the layout that surrounds the plates with frames of crisp white paper, embellishes the tables, claiming their preciousness.

The text always to the left combined with kindness, page after page, an alpine flower with subtly acquarellato: what a beauty!

The details that teem in the pages are capable of bringing the atmosphere alive and simply mesmerizing of the wood with the hares, butterflies, ladybugs, and its myriad plants and flowers-but also of the interior, the spartans of the houses of the farmers – with the coffered ceiling, the trunks are richly decorated, carpets, strongly woven, the cobs hanging on the walls. Each person breaks through the boundaries of design – the open door of the carpenter, the wagon with the trunks, the feet of the hunter. – stopping the atmosphere in an instant, but you perceive it as more spacious, and more involving.

The only exception to the rectangular boxes, which are real frameworks, a strong table of the impact with the hunter that fits with his binoculars our Chervil: a table of the brilliant, where the here and the there, exchange, and coincide at the same time.

Yet another elegant, beautiful, classic, fished out for us by Wolf, Guido. Good.

P.S. a historical question arose in me: when hunters have become the bad guys?

The article Old friends seems to be the first on a low Shelf.




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