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Pierre Alechinsky Cobra Vivant Pierre Alechinsky Cobra Lives Jean-Loup Bourget

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Pierre Alechinsky Cobra Vivant Pierre Alechinsky Cobra Lives Jean-Loup Bourget Document generated on 09/29/2021 7:09 p.m. Vie des arts Pierre Alechinsky Cobra vivant Pierre Alechinsky Cobra Lives Jean-Loup Bourget Volume 22, Number 90, Spring 1978 URI: https://id.erudit.org/iderudit/54844ac See table of contents Publisher(s) La Société La Vie des Arts ISSN 0042-5435 (print) 1923-3183 (digital) Explore this journal Cite this article Bourget, J.-L. (1978). Pierre Alechinsky : cobra vivant / Pierre Alechinsky: Cobra Lives. Vie des arts, 22(90), 58–93. Tous droits réservés © La Société La Vie des Arts, 1978 This document is protected by copyright law. Use of the services of Érudit (including reproduction) is subject to its terms and conditions, which can be viewed online. https://apropos.erudit.org/en/users/policy-on-use/ This article is disseminated and preserved by Érudit. Érudit is a non-profit inter-university consortium of the Université de Montréal, Université Laval, and the Université du Québec à Montréal. Its mission is to promote and disseminate research. https://www.erudit.org/en/ PIERRE ALECHINSKY cobra vivant Jean-Loup Bourget Pierre Alechinsky a reçu en 1976, pour l'ensemble de son œuvre, le Prix Andrew W. Mellon, d'un mon­ tant de 50 000 dollars, qui lui vaut en outre une rétrospective au Musée des Beaux-Arts du Carnegie Institute de Pittsburgh. Cette exposition se rend en­ suite à Toronto, à l'Art Gallery of Ontario1. D'autre part, des œuvres récentes d'Alechinsky ont été récem­ ment présentées à la Galerie Lefebre de New-York. Simultanément, sont publiés, par le Carnegie Institute, Pierre Alechinsky, Paintings and Writings et, par Abrams, Alechinsky, ouvrages réunissant des textes d'Ionesco, d'Alechinsky, des reproductions (dont plu­ sieurs lithographies originales) et une documentation très fouillée sur la vie du peintre2. En 1966, Alechinsky peint à l'encre sur papier marouflé Cobra vivant, titre, signe et manifeste qu'il pourrait aussi bien reprendre aujourd'hui et qui pour­ rait aussi servir à définir l'ensemble de son œuvre. Pour certains historiens de l'art, en effet, Cobra est mort, n'ayant vécu que de 1948 à 1951; tel, apparem­ ment, n'est pas l'avis d'Alechinsky. Cobra, c'est-à-dire COpenhague-BRuxelles-Amsterdam, les villes d'où étaient originaires Jorn, Pedersen, Dotremont, Appel (avec ces deux derniers Alechinsky collabore tou­ jours), Constant, Corneille, ... un mouvement que la géographie inscrit dans l'aire expressionniste, qui cousine avec le surréalisme et qui apparaîtrait comme le pendant de l'abstraction lyrique américaine s'il n'était pas plus lyrique que vraiment abstrait. Ce qu'il est intéressant de noter, c'est que Cobra (qui, à l'instar du surréalisme, voulait être simultanément peinture et la Bible, que toute l'Europe du Nord semble se con­ 1. Pierre ALECHINSKY écriture) s'exprimait en français, avec une fantaisie certer pour inventer le style qui veut être le plus Alice grandit. 1961. bien différente de ï Angst expressionniste. Aussi, que gréco-romain possible, le néo-classicisme (mais où fera 205 cm x 245. Cobra était gestuel, que, selon le juste mot de Jorn, retour, chez Blake ou chez Runge, le refoulé de la l'automatisme de qui s'exprime doit être physique couleur), que Van Gogh va peindre en Arles. Fin du autant que mental (différence fondamentale d'avec le siècle (le 19e) qui est un tournant de l'histoire: tandis surréalisme: opposer aux toiles de Magritte, par exem­ que, non loin de là, à Aix-en-Provence, Cézanne inau­ ple — encore que certains dessins de Magritte res­ gure le modernisme mais toujours dans le cadre de la semblent à s'y méprendre aux peintures d'Alechinsky). tradition occidentale et méditerranéenne (tradition Ce mouvement qui s'intègre harmonieusement à la que, quelles que soient les apparences, poursuivra et tradition de la peinture occidentale en désigne en fortifiera Picasso), Gauguin le sauvage, comme Rim­ même temps la rupture. Depuis des siècles, les pein­ baud en poésie, libère d'un coup tous les refoulés de tres du nord de l'Europe font la preuve de leur origi­ cette tradition rationnelle et réaliste: le primitivisme, nalité, mais c'est comme malgré eux. Ils s'efforcent, l'exotisme, le japonisme, l'art populaire, l'esprit d'en­ avec, semble-t-il, une parfaite bonne foi, de se sou­ fance, ... 1. Du 10 mars au 20 avril 1978. mettre à une tradition qu'ils révèrent (gréco-latine ou La rupture effectuée par Gauguin signifie qu'il est 2. Les Editions Yves Rivière — judéo-chrétienne) et qui pourtant leur a été imposée, désormais possible d'appartenir à la tradition tout en Arts et Métiers Graphiques parfois par la violence. C'est ainsi que Durer se met à regardant ailleurs (c'est le phénomène, bien connu de ont récemment publié l'école italienne, qu'Anvers épouse le maniérisme, que la 4e République, de la double appartenance). Double, Alechinsky — Peintures et Écrits, diffusé, au Canada, par Rubens s'inspire des Vénitiens, que Rembrandt illustre ou triple, ou multiple. C'est ainsi qu'Alechinsky: les Éditions Flammarion. 58 Les peintres Coll. de l'artiste. 2. Le Complexe du Sphinx. 1967. 160 cm x 151.1. New-York, Musée d'Art Moderne. 59 Les peintres 1) ne récuse pas sa petite patrie belge. Il rend calendrier aztèque, vert salade et mauve comestible, 3. De deux choses l'une, I960. notamment Hommage à Ensor (I960) auquel l'appa­ à'Astre et Désastre (1969), qui sert de couverture aux (Gracieuseté du Musée des rente sa veine humoristique, caricaturale; sa grand- beaux livres publiés par Pittsburgh et Abrams. Beaux-Arts de l'Ontario.) mère possédait une gravure d'Ensor. Il peint les Gilles Par ailleurs, il dialogue avec la tradition du mo­ de Binche. Il se dit grand lecteur de bandes dessinées, dernisme occidental: il peint, à la suite de Matisse, un grande spécialité belge, évoque en ces termes son Luxe, calme et volupté (1969). Matisse à la fin de sa voyage au Japon: Tintin chez les calligraphes, épisode vie atteint avec ses papiers découpés à la couleur pure, inédit du Lotus bleu. Effectivement, petit, malicieux, solaire, qu'on n'a pas manqué d'accuser, ainsi que rouquin, il a, à cinquante ans, quelque chose de l'éter­ celle d'Alechinsky, d'être décorative. Comme les au­ nel jeune homme à la houppe et aux pantalons de tres membres de Cobra, il est bien de son époque. Il golf; apprécie le jazz. Appel peint Dizzy Gillespie; adoles­ 2) Comme Ensor, il est un peu citoyen de l'Extrê­ cent, Alechinsky écoute Django Reinhardt, et, lors de me-Orient, Chine et Japon. Il a réalisé un film sur la son premier séjour à New-York, John Coltrane, The- calligraphie japonaise. Il ne craint pas d'évoquer Le lonious Monk, Duke Ellington. De façon appropriée, Fantôme d'Hokusai (1976). Sa technique (son pin­ c'est Michel Portai, même expression personnelle, ceau) appelle la Chine ou le Japon; ses peintures même humour, qui signe la musique du film Alechin­ récentes (exposées chez John Lefebre) sont à l'acry­ sky d'après nature (1970). Il aime le cinéma, et sa lique — rouge, violet, bistre — sur de grandes feuil­ technique du cadrage et du montage (à partir de les de papier de riz chinois, certaines froissées, d'autres Central Park, 1965, jusqu'à Souci quotidien, 1975, et non, qu'Alechinsky fait venir spécialement par rames au-delà) doit peut-être quelque chose à cette forme entières. De façon générale, il peint par signes (le d'expression, aussi bien qu'à la bande dessinée. Japon est, selon Roland Barthes, l'Empire des Signes) : Il a déclaré lui-même que lorsqu'on se rend compte union indissociable d'un signifiant et d'un signifié, qu'on appartient à une chaîne, on peut jeter la chaîne dessin qui se fait couleur, et inversement, peinture par dessus bord, on est libre. Tous les ancêtres d'Ale­ qui se fait écriture, et inversement, impossibilité de chinsky, au lieu de peser sur lui, l'entraînent, comme distinguer entre expression et figuration, lyrisme per­ des ballons, vers les hauteurs. Un père juif russe, une sonnel et peinture (depiction) de la création. Bes­ mère franco-belge. Sur le plan métaphorique, à part tiaire, monstres, vers, avortons, reptiles (cobras), oi­ Ensor et (par implication) Gauguin, on pourrait en­ seaux (c'est la même chose aux yeux de la paléonto­ core citer Jarry pour le goût de l'écriture, du jeu avec logie). Chantre de la création, d'une faune et d'une les mots, et Victor Hugo dessinateur et décorateur flore immémoriales, préhistoriques, mythologiques. (les pyrogravures d'inspiration chinoise pour Haute- Orphée charmant les animaux. Tout ceci en couleurs à ville-Fairy, la maison de Juliette Drouet à Guernesey). la fois vives et tendres. Violets, jaunes sublimes (le Je me bornerai à deux exemples précis, empruntés au noir et blanc de l'encre me convainc moins que l'acry­ tome XVII des Oeuvres complètes (édition de Jean lique) ; Massin) : le n" 269, un poulpe (lavis d'encre); le n° 3) Cobra = Copenhague. Le dragon qui prolifère 274, un dragon (plume, sépia, gouache) qui évoque chez Alechinsky est-il chinois ou Scandinave? Les deux le Cobra vivant d'Alechinsky. Quant aux contempo­ ensemble, bien sûr. Ses bestioles évoquent celles que rains : Karel Appel, compagnon du groupe Cobra, avec Segalen photographiait en Chine (Chine, La grande lequel la ressemblance s'est accentuée au fil des an­ statuaire), et aussi bien tout ce que refoule certaine nées — et Jean Dubuffet, qui ne se reconnaît d'ancê­ tradition gréco-latine et qui affleure néanmoins en tres qu'anonymes. Bretagne, en Irlande, ... Ou encore: le Mexique, le English Translation, p.
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