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- W50102443 abstract "?g a-t-il des mots pour la peinture?1 This is the question Francis Ponge posed in 1945, the question of putting painting into words, of translating painting into poetry. The nine texts he wrote on Georges between 1946 and 1982 may be seen as his attempt to answer this question.2 Choosing the major essay of this group, Braque ou un meditatif a l'œuvre (1977:283-317), first published in 1971, 1 shall show that in the process of transforma.tion from object to painting to poem, each agent involved the object, Braque, and Ponge leaves its mark or signature on the work. I propose a reading of this essay focusing on the paratextual elements that painting and poetry share: title, frame, and signature. In Derrida's terminology, these are examples of the parergon: œuvre ni hors d'œuvre, ni dedans ni dehors, ni dessus ni dessous, il deconcerte toute opposition mais ne reste pas indetermine et donne lieu a l'œuvre (1978:14). Many of Braque's titles double his signature, such as the first title of one of his earliest cubist paintings, Broc et violon of 19091910 (Gieure: pl. 23), and the many titles including the word barque, an anagram of Braque. It is interesting that Ponge, with his fascination for signature, does not focus on these terms as titles, although he does deal with them as objects in Braque's paintings, as we shall see. Instead, one of Braque's tides that Ponge mentions repeatedly is Le banjo of the 1940's (Cooper 1956:47), no doubt because of its phonetic resemblance to his own name, Ponge. Of equal significance is the title Ponge studiously avoids mentioning, except to say that it is not Le banjo. Twice Ponge mentions, without naming it, a painting causing the violent emotional reaction he calls le sanglot esthetique (246, 300). He describes the painting thus:" @default.
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- W50102443 date "2016-01-01" @default.
- W50102443 modified "2023-09-27" @default.
- W50102443 title "Bracketing Painting: Ponge's Criticism of Braque" @default.
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