Ausrufzeit : ca. 15:07 (Zeitplan ohne Gewähr)
Collection Miroir du Poète III. – Eins von 100 Exemplaren (Gesamtauflage 135). – Im Druckvermerk vom Künstler signiert. – Gedruckt auf altem Japan-Papier. – Die drei Texte dieses Buchs, von denen der letzte 1947 verfasst wurde, spiegeln die Verzweiflung eines schizophrenen Menschen wider. Picasso war Mitglied der »Vereinigung der Freunde des Werks von Antonin Artaud«, die 1946 gegründet worden war, um Artauds Unterbringung und Verpflegung in einer Privatklinik in Ivry zu finanzieren. Picassos Theaterstücke mit ihren zusammenhanglosen Handlungen, ihren ohne Logik angeordneten Sequenzen und ihren Figuren, die ausschließlich nach ihren Begierden handeln, entsprechen perfekt den Anforderungen des surrealistischen Theaters, wie sie von Artaud formuliert wurden. Picasso teilte zudem Artauds Vorstellungen von der »Notwendigkeit der Grausamkeit« […] und zeigte, dass er die enge Beziehung zwischen Gewalt, Ästhetik und der durch Grausamkeit hervorgerufenen erotischen Erregung sehr wohl verstanden hat. Die Radierung im Buch ist der einzige Farbstich, den Picasso jemals für ein Buch angefertigt hat. (nach Goeppert/Cramer).
Goeppert/Cramer 87. – Bloch 824 und livres 80. – LC 2001 78. – Monod 539. – A&B 239
16,8 : 14,7 cm. [36] Seiten. – Rücken der Chemise verblasst. – Umschlag stockfleckig, einige Seiten mit wenigen schwachen Stockflecken.
english description:
Includes a color etching by Picasso. Loose double sheets in their original wrapper. Together in a cloth chemise and slipcase.
Collection Miroir du Poète III. – One of 100 copies (total edition of 135). – Signed by the artist in the print mark. – Printed on antique Japanese paper. – »This book is the third volume in the series ›Miroir du Poète‹, which was published by Louis Broder. … Antonin Artaud died on March 4, 1948, in a state of lucid, painful alienation. The three texts in this book, the last of which was written in 1947, reflect the despair and terror of a man who imagines himself to be cruelly persecuted. … Picasso knew Artaud well. The latter had played the role of Tiresias in Cocteau’s Antigone in 1922, a play for which Picasso had designed the sets (see No. 80). We know that the painter belonged to the ›Association of Friends of Antonin Artaud’s Work‹, which had been set up in 1946 in order to pay for his board and lodging in a private clinic in Ivry. Picasso’s plays, with their disjointed stories, their sequences arranged without logic, and their characters who act solely according to their desires, correspond perfectly to the demands of the surrealist theater as formulated by Artaud. Picasso also shared Artaud’s ideas on ›the necessity of cruelty‹; in his depictions of bulls attacking horses, in the Minotauromachie (Bloch 288), in La Mort de Marat (see No. 23), in Guernica, or in Femme qui pleure (Bloch 1333, Z. IX, 73), Picasso shows that he well understood the close relationship between violence, aesthetics, and erotic excitement generated by cruelty. This book is illustrated with an engraving with burin and drypoint, the only engraving in color Picasso ever made for a book. Taking inspiration from the celluloid engraving for P. A. Benoit’s Autre chose, Picasso cut a very small round piece out of the copperplate. This round cut, which represents a head, will remain perfectly white on the printed impressions. Below the tiny white head, surrounded by black, one sees disconnected limbs, which look like crutches, against a ground of pale yellow and green. This figure resem-bles, to a surprising degree, the one in a drawing by Artaud himself, called L’homme et sa douleur« (Goeppert/Cramer, S. 226.)
»This is the third volume in the series Miroir du Poéte published by Louis Broder. The three texts by Antonin Artaud that comprise this book were written at a time for him of intense alienation, shortly before his death in 1947. The last of these, consequently, reflects the despair and terror of a man who imagines himself to be cruelly persecuted. Picasso shared Artaud’s ideas on „the necessity of cruelty“ in his depictions of bulls attacking horses in the Minot-auromachie, La Mort de Marat, Guernica, and many other works. This illustration is the only color engraving that Picasso ever made for a book.« (Robert Flynn Johnson, in: LC)
Back of chemise faded. Wrapper foxed, some pages with minor foxing.
