The Cross-Eyed Mutt
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- 9,49 €
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- 9,49 €
Description de l’éditeur
Fabian is supervisor at the Louvre. He loves his job. He also loves Mathilde. When it comes time, she presents him to her family in their vast country house and not without some apprehension, as the Benion clan is a bit special. There’s her father, Louis, who heads since 1975 the family furniture company founded in 1947, and two brothers, Maxime and Joseph. They’re not bad guys, just rather clumsy and with a decidedly unsubtle sense of humor. The fact that Fabian works in the Louvre is a welcome coincidence, since they just found in the attic a painting by an ancestor in the nineteenth century. It’s a sorry representation of a cross-eyed mutt. What is the value? ask the Benion. Is this an eyesore or a masterpiece? Fabian, pretty embarrassed, punts on the question. So for the Benion, case closed, if it ain’t an eyesore then no doubt it has its place on the walls of the Louvre! Fabian is left hoping the whole delusion will just go away, until one day the two brothers show up at the Louvre and ask. Getting the Cross-Eyed Mutt into the Louvre would demonstrate his commitment to becoming a member of the Benion family! Fabian is now in a pickle when he meets Mr. André Balouchi, an oddball frequent visitor of the museum who turns out to have quite a bit of clout…
A raucous satirical comedy that asks: Who decides what makes a work of art worthy of being in a major museum?
PUBLISHERS WEEKLY
Channeling the gentle absurdity of his Lulu Anew, Davodeau takes readers on a comic romp that questions the nature of high art. Meeting his girlfriend Mathilde's family for the first time, Fabien is quickly welcomed into the off-kilter clan. When his prospective in-laws discover he's a security guard at the Louvre, they make a peculiar request: to convince the world's most famous art museum to accept a thoroughly mediocre painting by their ancestor. Fabien's attempt to follow through on his mission brings him into contact with the Republic of the Louvre, a secret society that controls the museum's collection. In the process, Davodeau meanders among questions that have plagued artists for centuries: what differentiates low art from pieces worth millions? Why do we overlook some artists in favor of others? In the end, Davodeau suggests that both sides of the spectrum are equally ridiculous, exquisitely incorporating classical sculptures and oils into his cartooning but sparing a moment to laugh at his own form, too.
