At Grand-Combe, the memory of the struggle of the Ladrecht miners is told in brushes

At Grand-Combe, the memory of the struggle of the Ladrecht miners is told in brushes

Until Saturday, September 24, painters create their paintings live, from 9 a.m. to 6 p.m., in front of the Ricard well.

Of the origins of the creation of the Ladrecht fresco in support of the miners in their long struggle, in 1980, against the closure of the mining site, only two artists remain.
Friday, September 23, Michel Trani is there, brushes in hand, the other Jean-Marc Stetka, a while away from his studio, is willing to come back quickly.
Thus, like a torch transmitting the commitment of the artists, Michel Trani, Daniel and Évelyne Pâris, Valérie Prats and Pascale Depardon, invited by the association Les contemporains parallels to celebrate the 40th anniversary of the struggle, slipped in with their brushes and colors in the history of the latter.

Saturday, at the foot of the Ricard well,
live painting from 9 a.m. to 6 p.m.

For Michel Trani, the act of support for those on strike at the bottom of the Destival pit was motivated by a political convergence: “it was living and working in the country that the miners also defended. In general, culture is in Paris while province lacks galleries, exhibition halls… But we refused that.”

Talk about us. The message still spreads today over nearly 500 m2 of walls all along the national road 106. A fresco razed in 1992 by a mayor in cold with history which will be repainted after a legal battle won by the artists . A fight inspiring in their own way the painters present until Saturday.

For Pascale Depardon, friend of Michel Gilles or Maurice Laurent, involved in painting outside the studios, great female figures Veil, Auclair, Weill, Sand and Rosie the riveter mark as symbols the acquired rights to be defended. If for Évelyne and Daniel Pâris the defended ideas are also theirs, it is a cubist painting for the lady and figurative for the gentleman who is getting married against the backdrop of the Ricard well.

“Me, it’s total improvisation” smiles Valérie Prats advancing on her canvas of coated white geso, guided by the idea that “knowing your past is better to understand the future.”

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