From MilkMag

Translated by Tom Hibbard

The difficulty of Reverdy's poems limited his audience. He founded a short-lived review, Nord-Sud (1916; “North-South”), to promote Cubism. After turning to Surrealism in the 1920s, hereturned to Cubist-inspired poetic techniques. Reverdy published Étoiles peintes (1921; “Painted Stars”), Les Épaves du ciel (1924; “Shipwrecks from Heaven”), and Flaques de verre (1929; “Glass Puddles”). In 1926 he retired to the Abbey of Solesmes, remaining there until his death. In solitude he dedicated himself to a search for the spiritual meaning of the physical world, expressing this vocation in the disciplined maxims of Le Gant de crin (1927; “The Horsehair Glove”) and Le Livre de mon bord (1948; “The Book Beside Me”). (Encyclopædia Britannica 2004 CD-Rom)

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Editor's note: What follows is not an article per se, but information that may be of use to some readers in getting a handle on the Reverdy poems.

Pierre Reverdy (13 September 1889 - 17 June 1960) is a French poet associated with surrealism and cubism.

Pierre Reverdy was born in Narbonne and grew up near the Montagne Noire in his father's house. Reverdy came from a family of sculptors. His father taught him to read and write. He studied at Toulouse and Narbonne.

Reverdy arrived in Paris in October 1910. It was there, at the famous Bateau-Lavoir in Montmartre that he met Guillaume Apollinaire, Max Jacob, Louis Aragon, André Breton, Philippe Soupault and Tristan Tzara.

For sixteen years, Reverdy lived for his writing. His companions were Pablo Picasso, Georges Braque, Henri Matisse and many others. These were the years in which surrealism took flight and Reverdy partly inspired it. In the first Surrealist Manifesto, André Breton hailed Reverdy as "the greatest poet of the time," and Louis Aragon said that for Breton, Soupault, Éluard and himself, Reverdy was "our immediate elder, the exemplary poet."

In 1917, together with Max Jacob and Guillaume Apollinaire, Reverdy founded the influential journal Nord-Sud ("North-South") which contained many Dadaist and then surrealist contributions. It continued until 1918.

Reclusive by nature, Reverdy began to distance himself from these circles, and in 1926, at the age of 37, he left Paris, converted to Catholicism and went to live in Solesmes, home of the great St. Peter's Abbey. He stayed there until his death in 1960. During this time he wrote several collections including Sources du vent, Ferraille and Le Chant des morts. [http://en.wikipedia.org/wiki/Pierre_Reverdy]

Surrealism

-[was a] movement in visual art and literature, flourishing in Europe between World Wars I and II. Surrealism grew principally out of the earlier Dada movement, which before World War I produced works of anti-art that deliberately defied reason;but Surrealism's emphasis was not on negation but on positive expression. The movement represented a reaction against what its members saw as the destruction wrought by the “rationalism” that had guided European culture and politics in the past and that had culminated in the horrors of World War I. According to the major spokesman of the movement, the poet and critic André Breton, who published “The Surrealist Manifesto” in 1924, Surrealism was a means of reuniting conscious and unconscious realms of experience so completely that the world of dream and fantasy would be joined to the everyday rational world in “an absolute reality, a surreality.” Drawing heavily on theories adapted from Sigmund Freud, Breton saw the unconscious as the wellspring of the imagination. He defined genius in terms of accessibility to this normally untapped realm, which, he believed, could be attained by poets and painters alike.

In the poetry of Breton, Paul Éluard, Pierre Reverdy, and others, Surrealism manifested itself in a juxtaposition of words that was startling because it was determined not by logical but by psychological—that is, unconscious—thought processes. Its major achievements, however, were in the field of painting. Surrealist painting was influenced not only by Dadaism but also by the fantastic and grotesque images of such earlier painters as Hieronymus Bosch and FranciscoGoya and of closer contemporaries such as Odilon Redon, Giorgio de Chirico, and Marc Chagall. The practice of Surrealist art strongly emphasized methodological research and experimentation, stressing the work of art as a means for prompting personal psychic investigation and revelation. Breton, however, demanded firm doctrinal allegiance. Thus, although the Surrealists held a group show in Paris in 1925, the history of the movement is full of expulsions, defections, and personal attacks.

The major Surrealist painters were Jean Arp, Max Ernst, André Masson, René Magritte, Yves Tanguy, Salvador Dalí, Pierre Roy, Paul Delvaux, and Joan Miró. The work of these artists is too diverse to be summarized categorically as the Surrealist approach in the visual arts. Each artist sought his own means of self-exploration. Some single-mindedly pursued a spontaneous revelation of the unconscious, freed from the controls of the conscious mind; others, notably Miró, used Surrealism as a liberating starting point for an exploration of personal fantasies, conscious or unconscious, often through formal means of great beauty. A range of possibilities falling between the two extremes can be distinguished. At one pole, exemplified at its purest bythe works of Arp, the viewer is confronted with images, usually biomorphic, that are suggestive but indefinite. As the viewer's mind works with the provocative image, unconscious associations are liberated, and the creative imagination asserts itself in a totally open-ended investigative process. To a greater or lesser extent, Ernst, Masson, and Miró also followed this approach, variously called organic, emblematic, or absolute Surrealism. At the other pole the viewer is confronted by a world that is completely defined and minutely depicted but that makes no rational sense: fully recognizable, realistically painted images are removed from their normal contexts and reassembled within an ambiguous, paradoxical, or shocking framework. The work aims to provoke a sympathetic response in the viewer, forcing him to acknowledge the inherent “sense” of the irrational and logically inexplicable. The most direct form of this approach was taken by Magritte in simple but powerful paintings such as that portraying a normal table setting that includes a plate holding a slice of ham, from the centre of which stares a human eye. Dalí, Roy, and Delvaux rendered similar but more complex alien worlds that resemble compelling dreamlike scenes.

A number of specific techniques were devised by the Surrealists to evoke psychic responses. Among these were frottage (rubbing with graphite over wood or other grained substances) and grattage (scraping the canvas)—both developed by Ernst to produce partial images, which were to be completed in the mind of the viewer; automatic drawing, a spontaneous, uncensored recording of chaotic images that “erupt” into the consciousness of the artist; and found objects.

With its emphasis on content and free form, Surrealism provided a major alternative to the contemporary, highly formalistic Cubist movement and was largely responsible for perpetuating in modern painting the traditional emphasis on content. (Encyclopædia Britannica 2004 CD-Rom)

Cubism

-[was a] highly influential visual arts style of the 20th century that was created principally by the artists Pablo Picasso and Georges Braque in Paris between 1907 and 1914. The Cubist style emphasized the flat, two-dimensional surface of the picture plane, rejecting the traditional techniques of perspective, foreshortening, modeling, andchiaroscuro, and refuting time-honoured theories that art should imitate nature. Cubist painters were not bound to copying form, texture, colour, and space; instead, they presented a new reality in paintings that depicted radically fragmented objects.

Cubism derived its name from remarks that were made by the critic Louis Vauxcelles, who derisively described Braque's 1908 work Houses at L'Estaque as being composed of cubes. In Braque's painting, the volumes of the houses, the cylindrical forms of the trees, and the tan-and-green colour scheme are reminiscent of Paul Cézanne's landscapes, which deeply inspired the Cubists in their first stage of development (until 1909). It was, however, Les Demoiselles d'Avignon , painted by Picasso in 1907, that presaged the new style; in this work, the forms of five female nudes become fractured, angular shapes. As in Cézanne's art, perspective is rendered through colour, with the warm reddish-browns advancing and the cool blues receding.

The movement's development from 1910 to 1912 is often referred to as Analytical Cubism. During this period, the work of Picasso and Braque became so similar that their paintings are almost indistinguishable. Analytical Cubist paintings by both artists show the breaking down, or analysis, of form. Picasso and Braque favoured right-angle and straight-line construction, though occasionally some areas of their paintings appear sculptural, as in Picasso's Girl with a Mandolin (1910). They simplified their colour schemes to a nearly monochromatic scale (hues of tan, brown, gray, cream, green, or blue were preferred) in order not to distract the viewer from the artist's primary interest—the structure of form itself. The monochromatic colour scheme was suited to the presentation of complex, multiple views of the object, which was reduced to overlapping opaque and transparent planes. These planes appear to move beyond the surface of the canvas rather than to recede in depth. Forms are generally compact and dense in the centre of an Analytical Cubist painting, growing larger as they diffuse toward the edges of the canvas, as in Picasso's Portrait of Ambroise Vollard (1909–10). In their work from this period, Picasso and Braque frequently combined representational motifs with letters; their favourite motifs were musical instruments, bottles, pitchers, glasses, newspapers, and the human face and figure.

Interest in this subject matter continued after 1912, during the phase generally identified as Synthetic Cubism. Works of this phase emphasize thecombination, or synthesis, of forms in the picture. Colour assumes a strong role in these works; shapes, while remaining fragmented and flat, are larger and more decorative. Smooth and rough surfaces may be contrasted with one another, and frequently foreign materials, such as newspapers or tobacco wrappers, are pasted on the canvas in combination with painted areas. This technique, known as collage, further emphasizes the differences in texture and, at the same time, poses the question of what is reality and what is illusion.

While Picasso and Braque are credited with creating this new visual language,it was adopted and further developed by many painters, including Fernand Léger, Robert and Sonia Delaunay, Juan Gris, Roger de la Fresnaye, Marcel Duchamp, Albert Gleizes, and Jean Metzinger. Though primarily associated with painting, Cubism also exerted a profound influence on 20th-century sculpture and architecture. The major Cubist sculptors were Alexander Archipenko, Raymond Duchamp-Villon, and Jacques Lipchitz. The adoption of the Cubist aesthetic by the Swiss architect Le Corbusier is reflected in the shapes of the houses he designed during the 1920s. (Encyclopædia Britannica 2004 CD-Rom)

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© 2007 Tom Hibbard/MilkMag

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