Future Mallarmé (Present Picasso): Portraiture and Self-Portraiture in Poetry and Art

Olds, Marshall C.

doi:10.1080/08831159809603857

Cited by 2 publications

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“…For example, in the formatting of his books, Kahnweiler would include the colophon featuring both the signature of the writer and that of the artist, in order to underline their equal role in the production of the book, (Duroselle-Melish 2004: 371). The linking of Picasso to Jacob, and in turn, cubism to experimental literature, resulted in the term 'literary cubism', with Jacob's poetry embodying the new genre (Olds 1998). Roger Shattuck (1968: 27) expresses the duo's exploration of the avantgarde: 'Jacob and Picasso […] worked in concert as if the world around them were the gala start of a voyage of discovery.…”

Section: The Emergence Of the Livre D'artistementioning

confidence: 98%

The twentieth-century Livre d’Artiste: The greatest challenge to the text–image hierarchy of French book illustration?

Pullen¹

2015

Journal of Illustration

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This article explores the challenge presented by the twentieth-century French Livre d'Artiste to the textimage hierarchy of French book illustration. The notion that text took precedence over image was rooted in the idea that illustrations served as a means to adorn prose, aiming to literally represent the text without adding anything of substance to the writer's work. It was not until the turn of the century, with the introduction of a new concept of the French illustrated book called the Livre d'Artiste, that this traditional hierarchy of text and image was threatened. The Livre d'Artiste brought together the prose of celebrated texts complemented by original pictorial work of well-known artists. Despite the relatively limited field of scholarship surrounding the Livre d'Artiste, this article argues that the genre can claim to represent the greatest challenge to the text-image hierarchy of French book illustration at the turn of the century. It is divided into three

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Section: The Emergence Of the Livre D'artistementioning

confidence: 98%

The twentieth-century Livre d’Artiste: The greatest challenge to the text–image hierarchy of French book illustration?

Pullen¹

2015

Journal of Illustration

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“…2 On this late encounter with Mallarmé, see Olds (1998) and Mendelson (1999); for a first-hand account, see Brassaï (1999: 206). 3 Apollinaire, for instance, denied knowing the poem before 1914, but this is contradicted by Reverdy's testimony that Apollinaire discussed the typography of Un coup de dés while the proofs of Alcools were being prepared (that is, in late 1912); see Saillet (1997: 166-67).…”

Section: [6101 Words]mentioning

confidence: 99%

“…C. Breunig (1958: 5) notes that Picasso’s correspondence from the period attests to an imperfect mastery of the language, but insists that ‘a genius is not judged by his orthography’, and that Picasso’s reading knowledge was good enough to understand Mallarmé. Marshall C. Olds, meanwhile, claims that Picasso ‘probably read little Mallarmé’, and that his knowledge was second-hand and filtered through Max Jacob (Olds, 1998: 170–1). David Cottington (1998: 133) states that the evidence for direct contact with Mallarmé’s work is inconclusive, but this does not prevent him from speculating that the 1909 shift in Picasso’s style occurred ‘as if’ in direct reaction to Mallarmé’s aesthetic of mystery.…”

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Poetry into painting: Mallarmé, Picasso and punning

Shingler

2013

French Cultural Studies

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A note on versions:The version presented here may differ from the published version or from the version of record. If you wish to cite this item you are advised to consult the publisher's version. Please see the repository url above for details on accessing the published version and note that access may require a subscription.For more information, please contact eprints@nottingham.ac.uk 1 Poetry into painting: Mallarmé, Picasso and punning AbstractThis article gives a critical assessment of the relationship between the poetry of Stéphane Mallarmé and the Cubist painting and collage of Pablo Picasso. Taking in a range of critical sources that have insisted on Picasso's 'mallarmisme', the article sets out to shift scholarly debate away from its focus on Picasso's punning reference to Un coup de dés in a 1912 collage, and its suggestion of a dialogue between poet and painter around high art and its relationship to popular, commercial forms of production. It proposes that we instead focus our attention on the punning structures shared by Mallarmé and Picasso's work more generally -structures which give rise to a sense of simultaneity, or overlaps of meaning, and which ultimately suggest that in engaging with Mallarmé's poetry Picasso was self-consciously reflecting on the notion of painting as a kind of language, with its own syntax.Keywords: Stéphane Mallarmé, Pablo Picasso, Cubism, text-image relationships, simultaneity, pictorial syntax, linguistic analogyThe 1998 centenary of the death of Stéphane Mallarmé was marked by a flurry of publications on the poet, many of which sought to reassess not just his position within French literary history, but also his broad legacy across various cultural domains, including philosophy, music and dance. There was a feeling that the twentieth century was, in many ways, profoundly

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Future Mallarmé (Present Picasso): Portraiture and Self-Portraiture in Poetry and Art

Cited by 2 publications

References 0 publications

The twentieth-century Livre d’Artiste: The greatest challenge to the text–image hierarchy of French book illustration?

The twentieth-century Livre d’Artiste: The greatest challenge to the text–image hierarchy of French book illustration?

Poetry into painting: Mallarmé, Picasso and punning

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