DOCSLIB.ORG

PAUL DESTRIBATS BIBLIOTHÈQUE DES AVANT-GARDES 1Ère PARTIE – TOME 2

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text

Load more

PAUL DESTRIBATS BIBLIOTHÈQUE DES AVANT-GARDES 1ère PARTIE – TOME 2 Paris, 4 juillet 2019 1 2 Paul Destribats Bibliothèque des avant-gardes 1ère partie – Tome 2 VENTE AUX ENCHÈRES Jeudi 4 juillet 2019 à 14h30 Lots 256 à 443 9, avenue Matignon, 75008 Paris EXPOSITION PUBLIQUE Samedi 29 juin de 10h à 18h Dimanche 30 juin de 14h à 18h Lundi 1er juillet de 10h à 18h Mardi 2 juillet de 10h à 18h Mercredi 3 juillet de 10h à 14h COMMISSAIRES-PRISEURS Camille de Foresta, Victoire Gineste, Adrien Meyer Illustration de couverture : lot 371 CODE ET NUMÉRO DE LA VENTE Page 1 : lot 295 Pour tous renseignements ou ordres d’achats, Page 2 : lot 310 veuillez rappeler la référence Page 223 : lot 301 17875 - CLUB36 Page 224 : lot 428 IMPORTANT AVERTISSEMENT La vente est soumise aux conditions générales imprimées en fin de catalogue. Ce catalogue contient des images Il est vivement conseillé aux acquéreurs potentiels de prendre connaissance des informa- susceptibles de heurter la sensiblité tions importantes, avis et lexique fgurant également en fn de catalogue. des mineurs. The sale is subject to the Conditions of Sale printed at the end of the catalogue. WARNING Prospective buyers are kindly advised to read as well the important informa- This catalogue contains images that are potentially harmful to minors. tion, notices and explanation of cataloguing practice also printed at the end of the catalogue. Le département remercie pour leur aide précieuse : Participez à cette vente avec Clémentine Cauro Théophile de Proyart Enregistrez-vous sur www.christies.com jusqu’au 3 juillet à 8h30 CHRISTIE’S FRANCE SNC Agrément no. 2001/003 CONSEIL DE GÉRANCE Consultez le catalogue et les résultats François de Ricqlès, Président de cette vente en temps réel sur votre Edouard Boccon-Gibod, Directeur Général iPhone, iPod Touch ou iPad Jussi Pylkkänen, Gérant François Curiel, Gérant 3 4 CHAIRMAN’S OFFICE INFORMATIONS POUR LA VENTE Christie’s France Spécialistes et coordinatrices ADRIEN LEGENDRE Vente en association avec Directeur du département [email protected] Tél. : +33 (0)1 40 76 83 74 VINCENT BELLOY 21, rue Fresnel, 75116 Paris Spécialiste junior +33 (0)1 47 23 41 18 [email protected] + 33 6 80 15 34 45 Tél. : +33 (0)1 40 76 84 39 FRANÇOIS DE RICQLÈS GÉRALDINE LENAIN www. deproyart.com Président Directrice Internationale, Arts d’Asie ALICE CHEVRIER Jean-Baptiste de Proyart [email protected] [email protected] Catalogueuse [email protected] Tél: +33 (0) 1 40 76 85 59 Tél: +33 (0) 1 40 76 72 52 [email protected] Tél. : +33 (0)1 40 76 72 24 Grégoire Beurier [email protected] CONSTANCE MEYER Damien Gonnessat Coordinatrice de vente [email protected] [email protected] +33 (0)1 40 76 84 37 ET NATHALIE CLAUDE OTERELO EXPERT HAMMERSCHMIDT 5 rue de la Boétie, 75008 Paris Coordinatrice de département Membre de la Chambre Nationale des Experts [email protected] spécialisés. Tél: +33 1 40 76 83 61 [email protected] +33 6 84 36 35 39 ÉDOUARD BOCCON-GIBOD PIERRE MARTIN-VIVIER Directeur Général Directeur International, Arts du XXe siècle [email protected] [email protected] Tél: +33 (0) 1 40 76 85 64 Tél: +33 (0) 1 40 76 86 27 Département international Département Livres Paris SERVICES POUR CETTE VENTE, PARIS MARGARET FORD PHILIPPINE DE SAILLY International Head of Group Spécialiste Tel: +44 (0)20 7389 2150 ORDRES D’ACHAT RELATIONS CLIENTS ABONNEMENT PAULINE CINTRAT ET ENCHÈRES CLIENT ADVISORY AUX CATALOGUES KARL HERMANNS Business Manager Paris TÉLÉPHONIQUES Fleur de Nicolay CATALOGUE SUBSCRIPTION Global Managing Director Tél: +33 1 40 76 72 09 Tel: +44 (0)20 7389 2425 ABSENTEE AND [email protected] Tél: +33 (0)1 40 76 85 85 FELIX DE MAREZ OYENS TELEPHONE BIDS Tél: +33 (0)1 40 76 85 52 Fax: +33 (0)1 40 76 85 86 THOMAS VENNING International Consultant christies.com Head of Department Tel: +33 1 40 76 85 58 Tél: +33 (0)1 40 76 84 13 Books, London RÉSULTATS DES VENTES Fax: +33 (0)1 40 76 85 51 Tel: +44 (0)20 7389 2255 SALES RESULTS SERVICES APRÈS-VENTE christies.com Paris : +33 (0)1 40 76 84 13 POST-SALE SERVICES CHRISTINA GEIGER Londres : +44 (0)20 7627 2707 Isabelle Feng, Yuqi Bo, Sandra Balzani Head of Department SERVICES À LA CLIENTÈLE Books, New York New York : +1 212 452 4100 Coordinatrices d’après-vente CLIENTS SERVICES Tel: +1 212 636 2667 christies.com Paiement, Transport et Retrait des lots [email protected] Payment, shipping and collections JAMES HYSLOP Tél: +33 (0)1 40 76 85 85 Head of Department Tél: +33 (0)1 40 76 84 10 Fax: +33 (0)1 40 76 85 86 Scientific Instruments Fax: +33 (0)1 40 76 84 47 London [email protected] Tel: +44 (0)20 7752 3205 5 1929 256 [Variétés]. [1929] André BRETON et Louis ARAGON. Jeux surréalistes. Titre autographe de Breton, 4 pages MAQUETTE DU NUMÉRO SPÉCIAL DE LA REVUE BRUXELLOISE René CREVEL. À l’heure où l’écriture se dénoue, 4 pages VARIÉTÉS SOUS LA DIRECTION D’ANDRÉ BRETON ET DE LOUIS Paul ÉLUARD. L’Œuvre unique avec bois de Arp et indications autographes ARAGON. de Breton Benjamin PÉRET. Les Végétations factices, 2 pages Environ 100 feuillets in-4 (environ 305 x 240 mm) Louis ARAGON. Poèmes, titres et notes autographes de Breton, 1 page Albert VALENTIN. Porter à gauche, 2 pages 2 lettres autographes signées de l’éditeur Van Hecke sur papier à en-tête Paul ÉLUARD. Introduction, 1 page de Variétés et diférents textes relatifs au numéro E.L.T. MESENS. Poèmes, titre autographe de Breton Raymond QUENEAU. Lorsque l’esprit, 2 pages Pierre UNIK. Épreuves avec corrections autographes d'André Breton, 2 pages Louis ARAGON et André BRETON. Le Trésor des Jésuites, l’ensemble sous Paul NOUGÉ. Nouvelle géographie élémentaire avec collage d’une reproduction d’une carte fantaisiste du monde, annotée et légendée par reproduction de Max Ernst et titre autographe de Breton, 2 pages Aragon et Breton, 14 pages Robert DESNOS. The Night of loveless nights, 7 pages. Titre et corrections Pierre UNIK. Manuscrit autographe à l’encre, 2 page in-4 autographe de Breton, reproduction de Arp Georges SADOUL. Rêves de l’abat-jour, manuscrit à l’encre noire, 4 pages in-4 Sigmund FREUD. L’Humour, 6 pages E.L.T. MESENS. Trois fois trois et to, manuscrit autographe, 2 pages in-4 Frederic MEGRET. Corrections et notes autographes de Breton, 1 page 32 pages, in-4 de reproductions découpées et contrecollées pour illustrer Georges SADOUL. Rêves. 4 pages avec corrections et notes autographes le surréalisme en 1929. Elles ont toutes été légendées ou titrées par André de Breton Breton, Louis Aragon, Mesens, etc. Le nom des photographes est mentionné André THIRION. À bas le travail, 4 pages (Lot 384) €2,000-3,000 US$2,300-3,400 £1,800-2,600 6 7 257 ERNST, Max PIÈCES JOINTES : La Femme 100 têtes 1. Épreuves corrigées et signées par André Breton des premiers feuillets d’une Paris, Éditions du Carrefour, 1929 édition de La Femme 100 têtes chez Arcanes (1954) qui n’a jamais vu le jour, 9 et 21 mars 1954, 8 f. in-8. Pli médian, avec petites fentes aux pliures EXEMPLAIRE DE TÊTE SUR JAPON, RELIÉ PAR GEORGES LEROUX 2. Note autographe de Georges Leroux : “cet exemplaire de la Femme sans tête POUR MAX ERNST. [sic] m’a été confé par Max Ernst le 12 Mai 1968. Je le lui ai rendu en Mars 1969. Le prix de la reliure et [?] de 1.250 N.F.”, ½ pp. in-8 EXEMPLAIRE DE L’AUTEUR ET DE L’ARTISTE RELIURE JANSÉNISTE SIGNÉE DE GEORGES LEROUX, datée de 1969. Chagrin plissé vert épinard, dos long, doublure et gardes de daim vert, ÉDITION ORIGINALE ILLUSTRÉE tranches dorées, couverture conservée. Étui. Dos légèrement passé. Relié sans le dos de la couverture In-8 (244 x 189mm). “Avis au lecteur” d’André Breton PROVENANCE : Max Ernst (ex-libris ; note manuscrite de Leroux) TIRAGE : un des 15 EXEMPLAIRES DE TÊTE sur japon impérial, celui-ci l’un des 3 hors commerce nominatifs, lettré B ; le nom a été gratté et caviardé à €20,000-30,000 US$23,000-34,000 l’encre £18,000-26,000 ILLUSTRATION : 148 collages de Max Ernst reproduits 8 9 258 261 MICHAUX, Henry STEIN, Gertrude Mes propriétés Morceaux choisis de la Fabrication des Américains. Histoire du progrès Paris, Jacques-Olivier Fourcade, 1929 d’une famille Paris, Éditions de la Montagne, 1929 EXEMPLAIRE DE TÊTE SUR JAPON, RELIÉ PAR MIGUET Première édition française. Traduction et préface de Georges Hugnet. In-8 ÉDITION ORIGINALE (243 x 160mm). TIRAGE : un des 200 exemplaires sur alfa, celui-ci non numéroté, quatrième papier. PIÈCE JOINTE : bulletin de souscription de In-12 (189 x 137mm) l’ouvrage, 1 p. in-4 repliée. RELIURE SIGNÉE DE MERCHER. Box tabac à la TIRAGE : un des 20 EXEMPLAIRES DE TÊTE sur japon, celui-ci numéroté XV, bradel, tête dorée, couverture et dos conservés. Étui premier papier RELIURE JANSÉNISTE SIGNÉE DE MIGUET. Veau bleu, doublure et gardes €500-700 US$560-780 de daim bleu, dos long, tranches dorées, couverture et dos conservés, non £440-620 rogné. Chemise, étui €2,000-3,000 US$2,300-3,400 £1,800-2,600 261 262 258 ÉLUARD, Paul L'Amour la poésie Paris, N.R.F., 1929 259 EXEMPLAIRE RÉIMPOSÉ MICHAUX, Henry Ecuador. Journal de voyage In-4 (220 x 166 mm), broché, non coupé Paris, NRF, 1929 TIRAGE : un des 109 exemplaires réimposés au format in-4 tellière sur lafuma- navarre au fligrane NRF, n° III, imprimé pour Pierre Duché.
Recommended publications
  • Gaceta De Arte Y Su Época, 1932-1936

    Gaceta De Arte Y Su Época, 1932-1936

    Gaceta de arte y su época, 1932-1936 DATOS DEL LIBRO Título: Gaceta de arte y su época, 1932- 1936 Artistas: José Blasco Robles, José Enrique Marrero Regalado, Miguel Martín Fernández de la Torre, Richard E. von Oppel, Domingo Pisaca y Burgada, Alberto Sartoris, rudolf Schneider, Jean Arp, Willi Baumeister, Adalberto Benítez, Francisco Bonnín, Norah Borges, Víctor Brauner, Georges Brisson, José Caballero, Luis Castellanos, Paul Citroën, Giorgio de Chirico, Juan Manuel Díaz Caneja, Salvador Dalí, César Domela, Óscar Domínguez, Carl Drerup, Marcel Duchamp, El Lissitzky, Max Ernst, Álvaro Fariña, Luis Fernández, Ángel Ferrant, Antonio García Lamolla, Antonio García Lamolla, Alberto giacometti, Julio González, George Grosz, Jean Hélion, Valentine Hugo, Juan Ismael, Marcel Jean, Jan Kamman, Vassily Kandinsky, Paul Klee, Gustav Gustavovich Klucis, S. Kozlowsky, Pancho Lasso, Maruja Mallo, Man Ray, Néstor Martín Fernández de la Torre, Joan Massanet, Joan Miró, Lázslo Moholy-Nagy, Felo Monzón, José Moreno Villa, Ben Nicholson, Policarpo Niebla, Alfonso de Olivares, Jorge Oramas, Luis Ortiz Rosales, Benjamín Palencia, Timoteo Pérez Rubio, Pablo Picasso, Servando del Pilar, Alfonso Ponce de León, Antonio rodríguez Luna, Alberto Sánchez, Paul Shuitema, Santiago Santana, Yves Tanguy, Hans Tombrock, Joaquín Torres-García, Friedrich Vordemberge-Gildewart Autores: Emmanuel Guigon, María Isabel Navarro Segura, Enrigue Granell, Jorge Aguilar Gil, Nilo Palenzuela, Susanne Klengel, Horacio Fernández, Fernando Castro, Isabel Castells, José Miguel Pérez Corrales
  • Univerzitet Umetnosti U Begoradu Ţensko Telo U

    Univerzitet Umetnosti U Begoradu Ţensko Telo U

    Univerzitet umetnosti u Begoradu Interdisciplinarne studije Teorija umetnosti i medija Doktorska disertacija Ţensko telo u nadrealističkoj fotografiji i filmu Autor: Lidija Cvetić F6/10 Mentor: dr.Milanka Todić, redovni profesor Beograd, decembar 2015. 1 Sadržaj: Apstrakt / Abstract/ 7 1. Uvod : O nadrealističke poetike ka teoriji tela/ 6 2. Žensko telo i poetika nadrealizma/ 16 2.1.Estetika znatiželje/ 16 2.1.1. Ikonografija znatiţelje/ 20 2.1.2. Topografija ţenske zavodljivosti/ 22 2.1.3. Znatiţeljni pogled/ 26 2.1.4. Dekonstrukcija pogleda/ 32 2.2.Mit i metamorfoze/ 38 2.2.1. Prostori magijskog u prostoru modernosti/ 38 2.2.2. Breton – Meluzine/ 41 2.2.3. Bataj – Lavirint/ 56 2.2.4. Nadrealisički koncept Informé/ 60 3. Fetišizacija i dekonstrukcija ženskog tela u praksama narealizma/ 69 3.1. Fetišizacija tela/ 69 3.1.1. Poreklo fetiša/ 70 3.1.2. Zamagljeni identitet/ 74 3.1.3. Ţensko telo – zabranjeno telo/ 78 3.2.Dekonstrukcija tela/ 82 3,2,1, Destrukcija – dekonstrukcija/ 82 3.2.2. Konvulzivni identitet/ 87 3.2.3. Histerično telo/ 89 4. Reprezentacijske prakse u vizuelnoj umetnosti nadrealizma/ 97 4.1.Telo kao objekt/ 97 4.1.1. Početak telesnih subverzija/ 101 4.1.2. Ţenski akt – izlaganje i fragmentacija/ 106 2 4.2.Telo kao dijalektički prostor označavanja/ 114 4.2.1. Ţensko telo kao sistem označavanja/ 114 4.2.2. Disbalans u reprezentaciji „polnosti”/ 117 4.2.3. Feministički jezik filma/ 125 4.1.4. Dijalektika tela/ 128 5. Performativnost i subverzije tela/ 134 5.1.Otpor identiteta-performativnost tela/ 134 5.1.1.
  • Women Surrealists: Sexuality, Fetish, Femininity and Female Surrealism

    Women Surrealists: Sexuality, Fetish, Femininity and Female Surrealism

    WOMEN SURREALISTS: SEXUALITY, FETISH, FEMININITY AND FEMALE SURREALISM BY SABINA DANIELA STENT A Thesis Submitted to THE UNIVERSITY OF BIRMINGHAM for the degree of DOCTOR OF PHILOSOPHY Department of Modern Languages School of Languages, Cultures, Art History and Music The University of Birmingham September 2011 University of Birmingham Research Archive e-theses repository This unpublished thesis/dissertation is copyright of the author and/or third parties. The intellectual property rights of the author or third parties in respect of this work are as defined by The Copyright Designs and Patents Act 1988 or as modified by any successor legislation. Any use made of information contained in this thesis/dissertation must be in accordance with that legislation and must be properly acknowledged. Further distribution or reproduction in any format is prohibited without the permission of the copyright holder. ABSTRACT The objective of this thesis is to challenge the patriarchal traditions of Surrealism by examining the topic from the perspective of its women practitioners. Unlike past research, which often focuses on the biographical details of women artists, this thesis provides a case study of a select group of women Surrealists – chosen for the variety of their artistic practice and creativity – based on the close textual analysis of selected works. Specifically, this study will deal with names that are familiar (Lee Miller, Meret Oppenheim, Frida Kahlo), marginal (Elsa Schiaparelli) or simply ignored or dismissed within existing critical analyses (Alice Rahon). The focus of individual chapters will range from photography and sculpture to fashion, alchemy and folklore. By exploring subjects neglected in much orthodox male Surrealist practice, it will become evident that the women artists discussed here created their own form of Surrealism, one that was respectful and loyal to the movement’s founding principles even while it playfully and provocatively transformed them.
  • André Breton Och Surrealismens Grundprinciper (1977)

    André Breton Och Surrealismens Grundprinciper (1977)

    Franklin Rosemont André Breton och surrealismens grundprinciper (1977) Översättning Bruno Jacobs (1985) Innehåll Översättarens förord................................................................................................................... 1 Inledande anmärkning................................................................................................................ 2 1.................................................................................................................................................. 3 2.................................................................................................................................................. 8 3................................................................................................................................................ 12 4................................................................................................................................................ 15 5................................................................................................................................................ 21 6................................................................................................................................................ 26 7................................................................................................................................................ 30 8...............................................................................................................................................
  • PICASSO Les Livres D’Artiste E T Tis R a D’ S Vre Li S Le PICASSO

    PICASSO Les Livres D’Artiste E T Tis R a D’ S Vre Li S Le PICASSO

    PICASSO LES LIVRES d’ARTISTE The collection of Mr. A*** collection ofThe Mr. d’artiste livres Les PICASSO PICASSO Les livres d’artiste The collection of Mr. A*** Author’s note Years ago, at the University of Washington, I had the opportunity to teach a class on the ”Late Picasso.” For a specialist in nineteenth-century art, this was a particularly exciting and daunting opportunity, and one that would prove formative to my thinking about art’s history. Picasso does not allow for temporalization the way many other artists do: his late works harken back to old masterpieces just as his early works are themselves masterpieces before their time, and the many years of his long career comprise a host of “periods” overlapping and quoting one another in a form of historico-cubist play that is particularly Picassian itself. Picasso’s ability to engage the art-historical canon in new and complex ways was in no small part influenced by his collaborative projects. It is thus with great joy that I return to the varied treasures that constitute the artist’s immense creative output, this time from the perspective of his livres d’artiste, works singularly able to point up his transcendence across time, media, and culture. It is a joy and a privilege to be able to work with such an incredible collection, and I am very grateful to Mr. A***, and to Umberto Pregliasco and Filippo Rotundo for the opportunity to contribute to this fascinating project. The writing of this catalogue is indebted to the work of Sebastian Goeppert, Herma Goeppert-Frank, and Patrick Cramer, whose Pablo Picasso.
  • Comparative Literature, Spring 2008 Colt 480 Dada Surrealism T

    Comparative Literature, Spring 2008 Colt 480 Dada Surrealism T

    1 COMPARATIVE LITERATURE, SPRING 2008 COLT 480 DADA SURREALISM T. AND THURS. 12:30—1:50 T.H.H 121 PROF. GLORA ORENSTEIN OFFICE: T.H.H 174 VOICE MAIL: 740—0100 E-MAIL: [email protected] In this course we will explore the Dada and Surrealist Movements in the arts. We will focus on each movement’s aesthetic philosophy and stylistic and conceptual innovations as they manifested in a variety of artistic media: poetry, film, fiction, theatre, painting, manifestos, happenings, and contemporary Neo-Dada and Neo surrealist literary and visual creations. Concepts and forms such as The Marvelous, Automatic Writing, Objective Chance (synchronicity), Black Humor, the Found Object, The Dream Object, The Exquisite Corpse, The Surrealist Object, The Surrealist Image, The Surrealist Game, The Happpening, The Dream Narrative, Communicating Vessels, Paranoic Critical Creations, Frottage, Surrealist Collage, The One in The Other, Panic Theatre/Ephemeras, and many other artistic techniques will be elucidated as they articulate the “convulsive beauty” of Dada and Surrealist art and writing internationally. The women of Surrealism, their work in art and literature, will be a major focus of the course. There is one important aspect of the course that I would like to stress. Throughout the semester I would like you to search the web and establish an extensive file on either Dadists or Surrealists in a country of your choice. Print out a collection of information on contemporary dada or surrealist artists in your selected country or region, and be prepared to hand in this collection on the last day of class. It will take the form of a Class Presentation and it may be the Field Work component of your final research paper/project.
  • Du Cinéma and the Changing Question of Cinephilia and the Avant-Garde (1928-1930)

    Du Cinéma and the Changing Question of Cinephilia and the Avant-Garde (1928-1930)

    Jennifer Wild, “‘Are You Afraid of the Cinema?’” AmeriQuests (2015) ‘Are you Afraid of the Cinema?’: Du Cinéma and the Changing Question of Cinephilia and the Avant-Garde (1928-1930) In December 1928, the prolific “editor of the Surrealists,” La Librairie José Corti, launched the deluxe, illustrated journal Du Cinéma: Revue de Critique et de Recherches Cinématographiques.1 Its first issue, indeed its very first page, opened with a questionnaire that asked, “Are you afraid of the cinema?” (Fig. 1, 2) The following paragraphs describing the questionnaire’s logic and critical aims were not penned by the journal’s founding editor in chief, Jean- George Auriol (son of George Auriol, the illustrator, typographer, and managing editor of the fin-de-siècle journal Le Chat Noir); rather, they were composed by André Delons, poet, critic, and member of the Parisian avant-garde group Le Grand Jeu. “This simple question is, by design, of a frankness and a weight made to unsettle you. I warn you that it has a double sense and that the only thing that occupies us is to know which you will choose,” he wrote.2 1. Cover, Du Cinéma, No. 1. Pictured: a still from Etudes Sur Paris (André Sauvage, 1928) 2. Questionnaire, “Are You Afraid of the Cinema?” Du Cinéma, No. 1. 1 Unless otherwise noted, all translations are my own. 2 André Delons, “Avez-Vous Peur du Cinéma?” Du Cinéma: Revue de Critique et de Recherches Cinématographiques, 1st Series, no.1, (December 1928), reprint edition, ed. Odette et Alain Virmaux (Paris: Pierre Lherminier Editeur, 1979), 3.
  • The Dismembered Body in Antonin Artaud's Surrealist Plays

    The Dismembered Body in Antonin Artaud's Surrealist Plays

    CHAPTER TWO THE DISMEMBERED BODY IN ANTONIN ARTAUD’S SURREALIST PLAYS THOMAS CROMBEZ In two of his surrealist plays, Antonin Artaud inserted a scene where human limbs rain down on the stage. The beginning of Le Jet de sang (The Spurt of Blood, 1925) features a young couple pathetically declaring their love for one another, when suddenly a hurricane bursts, two stars collide, and “a series of legs of living flesh fall down, together with feet, hands, heads of hair, masks, colonnades, portals, temples, and distilling flasks”1 (Artaud 1976a, 71). In a later scenario prepared for the Theatre of Cruelty project, La Conquête du Mexique (The Conquest of Mexico, 1933), the volley of human limbs is echoed almost verbatim. Human limbs, cuirasses, heads, and bellies fall down from all levels of the stage set, like a hailstorm that bombards the earth with supernatural explosions.2 (Artaud 1979, 23) These literal and, according to the theatrical conventions of the day, almost unstageable instances of “dismemberment in drama” point to a distinctive characteristic of Artaud’s work. He seemed to strive for a purely mental drama, to be staged for the enjoyment of the mind’s eye. The distinctly appropriative method he employed to write his mental play- texts may be labeled, borrowing an expression from Alfred Jarry studies, as “the systematically wrong style” (Jarry 1972, 1158). This expression has already proven its worth as the most concise term for Jarry’s linguistically grotesque plays, composed of Shakespearean drama, vulgar talk, heraldic language, archaisms, and corny schoolboy humor. The first part of my essay considers why the standard poststructuralist interpretation of Artaud’s œuvre is unable to provide a strictly literal reading of the human body parts that litter the stage.
  • Networking Surrealism in the USA. Agents, Artists and the Market

    Networking Surrealism in the USA. Agents, Artists and the Market

    151 Toward a New “Human Consciousness”: The Exhibition “Adventures in Surrealist Painting During the Last Four Years” at the New School for Social Research in New York, March 1941 Caterina Caputo On January 6, 1941, the New School for Social Research Bulletin announced a series of forthcoming surrealist exhibitions and lectures (fig. 68): “Surrealist Painting: An Adventure into Human Consciousness; 4 sessions, alternate Wednesdays. Far more than other modern artists, the Surrea- lists have adventured in tapping the unconscious psychic world. The aim of these lectures is to follow their work as a psychological baro- meter registering the desire and impulses of the community. In a series of exhibitions contemporaneous with the lectures, recently imported original paintings are shown and discussed with a view to discovering underlying ideas and impulses. Drawings on the blackboard are also used, and covered slides of work unavailable for exhibition.”1 From January 22 to March 19, on the third floor of the New School for Social Research at 66 West Twelfth Street in New York City, six exhibitions were held presenting a total of thirty-six surrealist paintings, most of which had been recently brought over from Europe by the British surrealist painter Gordon Onslow Ford,2 who accompanied the shows with four lectures.3 The surrealist events, arranged by surrealists themselves with the help of the New School for Social Research, had 1 New School for Social Research Bulletin, no. 6 (1941), unpaginated. 2 For additional biographical details related to Gordon Onslow Ford, see Harvey L. Jones, ed., Gordon Onslow Ford: Retrospective Exhibition, exh.
  • Documents (Pdf)

    Documents (Pdf)

    Documents_ 18.7 7/18/01 11:40 AM Page 212 Documents 1915 1918 Exhibition of Paintings by Cézanne, Van Gogh, Picasso, Tristan Tzara, 25 poèmes; H Arp, 10 gravures sur bois, Picabia, Braque, Desseignes, Rivera, New York, Zurich, 1918 ca. 1915/16 Flyer advertising an edition of 25 poems by Tristan Tzara Flyer with exhibition catalogue list with 10 wood engravings by Jean (Hans) Arp 1 p. (folded), 15.3x12 Illustrated, 1 p., 24x16 1916 Tristan Tzara lira de ses oeuvres et le Manifeste Dada, Autoren-Abend, Zurich, 14 July 1916 Zurich, 23 July 1918 Program for a Dada event in the Zunfthaus zur Waag Flyer announcing a soirée at Kouni & Co. Includes the 1 p., 23x29 above advertisement Illustrated, 2 pp., 24x16 Cangiullo futurista; Cafeconcerto; Alfabeto a sorpresa, Milan, August 1916 Program published by Edizioni futuriste di “Poesia,” Milan, for an event at Grand Eden – Teatro di Varietà in Naples Illustrated, 48 pp., 25.2x17.5 Pantomime futuriste di Francesco Cangiullo, Rome, 1916 Flyer advertising an event at the Club al Cantastorie 1 p., 35x50 Galerie Dada envelope, Zurich, 1916 1 p., 12x15 Stationary headed ”Mouvement Dada, Zurich,“ Zurich, ca. 1916 1 p., 14x22 Stationary headed ”Mouvement Dada, Zeltweg 83,“ Zurich, ca. 1916 Club Dada, Prospekt des Verlags Freie Strasse, Berlin, 1918 1 p., 12x15 Booklet with texts by Richard Huelsenbeck, Franz Jung, and Raoul Hausmann Mouvement Dada – Abonnement Liste, Zurich, ca. 1916 Illustrated, 16 pp., 27.1x20 Subscription form for Dada publications 1 p., 28x20.5 Centralamt der Dadaistischen Bewegung, Berlin, ca. 1918–19 1917 Stationary of Richard Huelsenbeck with heading of the Sturm Ausstellung, II Serie, Zurich, 14 April 1917 Dada Movement Central Office Catalogue of an exhibition at the Galerie Dada.
  • Comparison of Matisse and Picasso's Treatment of the Human Body

    Comparison of Matisse and Picasso's Treatment of the Human Body

    Depiction of the body Matisse vs. Karie Edwards Eric Jones Picasso Chenla Ou Pablo Picasso 1881-1973 Henri Matisse 1869-1954 Henri Matisse and Pablo Picasso were two of the twentieth century's greatest rivals and yet no two artists inspired each other more.-- www.matisse-picasso.org “Expression, for me, does not reside in passions glowing in a human face or manifested by violent movement. The entire arrangement of my picture is expressive; the place occupied by the figures, the empty spaces around them, the proportions, everything has its share.” – Henri Matisse “The different styles I have been using in my art must not be seen as an evolution, or as steps towards an unknown ideal of painting. Everything I have ever made was made for the present and with the hope that it would always remain in the present. I have never had time for the idea of searching. Whenever I wanted to express something, I did so without thinking of the past or the future. I have never made radically different experiments. Whenever I wanted to say something, I said it the way I believed I should. Different themes inevitably require different methods of expression. This does not imply either evolution or progress; it is a matter of following the idea one wants to express and the way in which one wants to express it.” -- Picasso “We must talk to each other as much as we can. When one of us dies, there will be some things the other will never be able to talk of with anyone else.” --Henri Matisse to Pablo Picasso Matisse Time Line 1869: Born in Cateau-Cambrésis, France
  • Guest Biographies Booklet

    Guest Biographies Booklet

    CREDITS Game Design by Mary Flanagan & Max Seidman • Illustration by Virginia Mori • Graphic Design by Spring Yu • Writing and Logistics by Danielle Taylor • Production & Web by Sukdith Punjasthitkul • Community Management by Rachel Billings • Additional Game Design by Emma Hobday • Playtesting by Momoka Schmidt & Joshua Po Special thanks to: Andrea Fisher and the Artists Rights Society The surrealists’ families and estates Hewson Chen Our Kickstarter backers Lola Álvarez Bravo LOW-la AL-vah-rez BRAH-vo An early innovator in photography in Mexico, Lola Álvarez Bravo began her career as a teacher. She learned photography as an assistant and had her first solo exhibition in 1944 at Mexico City’s Palace of Fine Arts. She described the camera as a way to show “the life I found before me.” Álvarez Bravo was engaged in the Mexican surrealist movement, documenting the lives of many fellow artists in her work. Jean Arp JON ARP (J as in mirage) Jean Arp (also known as Hans Arp), was a German-French sculp- tor, painter, and writer best known for his paper cut-outs and his abstract sculptures. Arp also created many collages. He worked, like other surrealists, with chance and intuition to create art instead of using reason and logic, later becoming a member of the “Abstraction-Création” art movement. 3 André Breton ahn-DRAY bruh-TAWN A founder of surrealism, avant-garde writer and artist André Breton originally trained to be a doctor, serving in the French army’s neuropsychiatric center during World War I. He used his interests in medicine and psychology to innovate in art and literature, with a particular interest in mental illness and the unconscious.