His father want Heuze to be like him, a tailor. From its infancy Heuze has the idea of becoming a painter. The family left the district of Grenelle for the district of Montmartre (11 rue Custine), circa 1895. His parents put him to school in the rue Caulaincourt. His schoolteacher, father Farigoule, is the father of Jules Romain.

At thirteen, Edmond Heuzé and André Utter will paint in the Maquis. Rue Cortot, the two boys met Suzanne Valadon. Then he left the paternal home rue Custine; in the company of a young Russian sculptor Laxine, they settled in an attic, 8, rue Cortot. The adventure lasted two years until Laxine enters the Beaux-Arts in Cormon, then commits suicide.

Returning home, he learned tailoring and works at the Samaritaine, where he is fired, and took an apartment 58, rue Custine. Here he painted a portrait of Suzanne Valadon will be accepted at the Salon d'Automne. Nenesse then makes it into the Quadrille at the Moulin Rouge, with La Goulue, which allows him to survive and devote himself to painting for two years he danced and toured in Europe under the name of Williams.

1908, according Vauxelles he joined Victor Massé rue Berthe Weill, and is not impressed by Matisse or Marquet, but the kind Emilie Charmy. Later, en route to St. Petersburg, Heuzé became Curator of the Grand Duke Nicolas Nikolaevich, and remains there until the war of 1914. Back in Paris, he tried unsuccessfully to enlist in the army, eventually being accepted for a few months; returned to civilian life, to live he accepts small jobs, vendor or carrier at Les Halles, still painting.

In 1918, Heuzé meets Coquiot and serves as an intermediary for purchases of works by Picasso, Vlaminck and Valadon. Became artistic director of the gallery Sagot, Rue Laffitte, who organized a successful exhibition on the theme of "Masks". Then it becomes an antique dealer, steward at Saint-Palais, painter and decorator at Panzani & Nero.

In 1920, Heuzé exhibited at Bernheim with Asselin, Mouth, Charmy and Mainssieux. In 1923, he introduced his Daughters (joy) to the gallery Chiron. Therefore, Heuzé at make a living out of his works. With mime Farina, he discovered the world of circus Medrano, and this theme is his favorite subject, so that it follows the Travelers in various provincial tours.

In 1930, Cheron gallery presents works inspired by this theme. It crunches all the clowns at the time, Serato, Farina, Chocolate, Fratellini, Porto. Laureate of Paul Guillaume price in 1938, he found success, becoming a fashionable painter, and lives at 38 rue Ramey, 1941.

Heuze was appointed in 1951 professor of portraits at the Beaux-Arts, a vacant position since the death of Bonnat. He joined the Institute in 1948, joined the following year by JG Domergue, the two friends shocked their colleagues by their non-conformism. JP Crespelle says Heuzé was the inspirer of Francis Carco, who knew the Butte too late.

Towards the end of his life Heuzé went back to Utrillo, and attended the villa Vésinet, although his relationship with Lucie Valore be the most tumultuous. He attends the funeral of Maurice Utrillo, which for him is the end of a Montmartre he no longer recognizes. Today, more than his portraits brushed during sessions of two hours maximum, we search his scenes of clowns, and his views of Paris.

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Philosophers to present their theories, like to use examples. In Being and Nothingness, Sartre chooses a waiter to illustrate his very personal definition of bad faith.

Was it at the Café de Flore? Jean-Paul Sartre enters, sits on the bench, ordering coffee, lights a cigarette, grabbed his pen and is a continuous outpouring of ideas, concepts and brilliant insights. With lightning speed, it blackens the page of his writing compulsive, obsessive, neurotic. Sartre is writing notes. It has the squinting eyes, but piercing look. Is this beautiful woman he undresses in a sight? No, what fascinates him today is the comings and goings of the waiter.

Behind the thick glass of his spectacles, Sartre believes: "It has the quick movement and intense, a little too precise, too fast, it comes to consumers too vivaciously, he bows a little too eagerly, his voice, his eyes express an interest too solicitous for the customer's order, finally she comes back, trying to imitate in his walk the inflexible rigor of some unknown automaton while carrying his tray with a kind of tightrope walker boldness[...]. All his conduct seems a game [...]. He plays it fun. But what is he? One does not need to observe him long to realize he plays at being a waiter."

He will understand: this guy does too much, he "adds". His behavior is redundant. He tries to persuade himself that it merges so perfectly with its function that he is its function. But it is not, in essence, a waiter. In fact, his essence escapes him. he may not be aware that his existence, the contingent and uncertain emergence in the world of the living.

In contrast, the plateau that our server bring so lightly is indeed a tray, a being-in-itself. His reality is massive, unambiguous, undeniable, without inner part or becoming. It is closed on itself, its form and function are determined. This plateau is in itself what it is, just what is and what it is.

If the board is, the server exists. He is a Being-for-itself a conscious one. Consciousness has no form, no content or function: it is pure nothingness and pure freedom. A gaping hole in the world, a dizzying and frightening abyss. It is only by constant movement beyond itself, that it project into reality to internalize some disjointed scraps of reality. The man, because he is a conscious being, therefore, has no essence, no stability, no continuity. He is condemned to never being what he is. But who can resign himself to being nothing?

The dream of every consciousness is to coincide with itself, to give indubitable consistency of one thing and thus abolish its agonizing freedom. This is what Sartre calls bad faith. By his grossly stereotypical conduct, the server will assume an evasion from his own nothingness. He "plays" waiter, as others play the policeman or the perfect employee, for consolation of their own sense of emptiness.

But now that Jean-Paul Sartre gets up to greet Simone. Together, they will be playing Sartre and Beauvoir at the Café de Flore.

In the 11th arrondissement, the Bataclan adventure begins with the reign of Napoleon and scroll saw major names in music, jazz, rock, blues. Without forgetting the illustrious unknown : Edith Piaf. Le Bataclan, in 50 boulevard Voltaire 75011 Paris Metro: Oberkampf, is primarily a Café-concert, then a cinema, a stage for singers and dancers and finally the theater and concert place we know, with its variety of artists from all backgrounds.

The building that houses the hotel was designed by the architect Charles Duval. At that time, it is still the Chinese Grand Café - the Batacla had its effect on the bd Voltaire, with his air of oriental temple. In the middle of the twentieth century it is half demolished and it will be too expensive to rebuild. It was not until 1975 that our Bataclan opens its doors again.

It is the rendez-vous of the most famous artists. Celebrities renewal of the French stage. Towards the comical, Jamel Debbouze, Dany Boon and Michael Youn die laughing at the Bataclan. Boulevard, comédies musicales, one-man shows and ... huge international artists of popular song. Gotan Project, Fab'M, the Cure, Vincent Delerm, Blur, Cali, Michel Jonasz, Yuri Buenaventura ou encore Dee Dee Bridgewater.