As soon as I arrived in Paris, I realized that my exhibition at the Gorman Gallery was a success, and that its main consequence was to bring me a group of enemies. Who are these enemies? Almost all of them. Modern art has issued a call to the masses to oppose a violent, bold, incredible, discordant and destructive work. In short, this is not modern "young" art. People have just understood that I hate my time. The Art Book must have ignored me at the last minute, while the old gentlemen in moth-eaten leggings, with snuff on their beards and the Rosette of the Legion of Honor on their jackets took out their single-handled spectacles, looked more closely at my paintings, and had the idea of taking them away and hanging them next to the Messonnier paintings in their dining room. Over the past fifty years, these old people who love painting tirelessly have loved me and understood me. They feel that I am here to defend them. In fact, they don't need to be defended, because they are already a force, and I'm just on their side, on the side of the tradition that will be the Victor. By the time I arrived in Paris,Calacatta Nano Glass, the intellectual world was corroded by the pernicious influence of the decline of Bergsonism, which celebrated instinct and the vital impulse, and which led to an overvaluation of some crude aesthetics. Africa surges savagely over the wisdom of Paris. People worship black art, thanks to Picasso and surrealism. At the sight of a Raphael heir falling prey to these anomalies, I blush with shame and anger. I must find the antidote, the flag against these products of spiritual enslavement,Artificial Marble Slabs, of confusion, of fear. In order to combat barbaric objects, I intend to vigorously promote those "modern style", European, civilized and decadent objects. I will always see the 1900 period as a consequence of the psychopathology of Greco-Roman decadence. I thought to myself that since these people refuse to listen to aesthetics and are only interested in life impulses, I would like to point out to them how there can be more mystery, poetry, eroticism, madness, pain, exaggeration, Stone Honeycomb Panel ,white marble slabs, greatness and depth of life in the smallest decorative details of an object of 1900 than in their barbaric and ugly idols. One day, I happened to be in Paris, and I found some subway entrances and exits from 1900, and unfortunately people were destroying them and replacing them with some horrible buildings that didn't have any character. Photographer Brassai took a series of photographs of these colonnaded decorative elements, and no one could believe their eyes that the "modern style" was so surreal. People began to go to the flea market to look for objects from 1900. It didn't take long for the impact of 1900 to be felt. Maxim's, which had its restaurant modernized, stopped work. Some songs from that era are back in fashion in magazines dressed up as 1900, and people are paying attention to the decadent and outdated aspects of 1900 and using it in innocent and humorous films for us to enjoy. It reached its peak a few years later, when Elsa Schiapaglieri succeeded in making people accept a hairstyle with a high curl at the back of the neck. This is how I watched with my own eyes the changes that took place in Paris at my command. But, as always, my own influence is so far beyond me that I cannot convince anyone that it originated with me. The same phenomenon occurred a few years later. On my second visit to New York, I found that the glass windows of most of the big stores had been inspired by the surrealist material I had first promoted. The constant drama of my influence is that it escapes my grasp, and I can neither channel it nor enjoy it. I felt that I was living in a Paris that obeyed my orders. When I read an article against utilitarian architecture, I knew it came from me. If someone says in any context, "I'm afraid it's going to be modern." It still comes from me. The public hasn't made up their minds to follow me yet, but I've already destroyed their faith! Modern artists do have reason to hate me! I keep getting stolen, and I can't take advantage of my discoveries. I launched the "modern style", I can only go to the street to understand its spread: lace, films, nightclubs, shoes are in line with it. A large number of craftsmen make a living by making them, while I walk around Paris and can't do anything. Everyone can realize my idea like this, but I can't! I don't even know how and where to get help, to find a place as an extra in those 1900 films that cost millions of yuan and a lot of stars, and people don't even think about it! This is a frustrating time for my inventions. The sale of my paintings clashed with the Freemasonry of modern art. I received a letter from Viscount Nowell that gave me a foretaste of the worst. I have to make a living in a different way. I've drawn up a list of inventions that I'm confident are absolutely effective. I invented: Humane nails with a small mirror to look in; The transparent mannequins used in the cabinet are filled with water, and some fish simulating blood circulation swim in the water; Bakelite furniture cast according to customer impressions; A rotating fan sculpture; Car-mounted kaleidoscopic spectacles for passing through boring scenery; Photographic masks used by journalists; A multifunctional cosmetic capable of removing various defects on the face; Spring shoes for easy walking; Tactile movies, with the help of an extremely simple mechanical device, enable people to touch everything they see, such as textiles, fur, whiskers, skin, sand, dogs and so on; Articles which satisfy the most secret pleasures of the body and mind, some of which should arouse a strong revulsion that would make the buyer throw them to the wall and smash them, and others that would make the buyer's teeth clench in anger,pietra gray marble, as one feels when a knife is used to scrape a marble. Extremely irritated nerves will cause the buyer to throw an object against the wall, which will make a very pleasant sound when it shatters; All kinds of things that people don't know where to put, and they create a sense of dissatisfaction that doesn't end until people get rid of them. Masochism is likely to make these items very popular. forustone.com