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• W61053742 abstract "The apparently impervious semiotic boundary between two different modes of artistic expression, the visual and the verbal, has long been a topic of paramount concern to 20th-century French poets, giving rise to a type of commentary called poesie critique. First used in 1965 by Breunig and Chevalier in their edition of Apollinaire's art criticism, the term literally means and generally refers to writings by poets that treat the fine arts. In addition to Apollinaire, other examples are Andre Malraux and Yves Bonnefoy, and so pervasive is this kind of writing that in a recent essay on the writings of all three, Robert W. Greene begins by asking somewhat facetiously, Which well-known twentieth-century French poets have not written art criticism? (94). For Norman Bryson, in turn, it is this borrowing freely from other disciplines that accounts for the richness of French art criticism; and speaking specifically of Bonnefoy, he writes, senses little absolute distinction between poetry, literary criticism...and art criticism....This is perhaps the most significant feature of such writing in France: the absence of the sense of threshold, of border police ready to pounce (xv). If Bonnefoy is France's current pre-eminent poete critique, however, a particularly provocative example of the interdisciplinary openness of this genre may be found in the works of another contemporary French poet, Claude Esteban, whose Soleil dans piece vide (1991) constitutes something of a departure from his own usual stance as an art critic. That is, in his essays on the fine arts collected in Traces, figures, traversees (1985), Critique de la raison poetique (1987), and again in Le travail du visible (1992), Esteban discusses the nature of the visual image in the works of a wide spectrum of European painters, ranging from Lorrain and Rembrandt, through Goya and Murillo, to Braque, De Koonig, and Bacon. Soleil dans piece vide, in contrast, does not consist of critical analysis in essay form, but of what Esteban calls une suite de scenes: forty-seven meditative prose texts, each inspired by a different oil painting by the American Realist Edward Hopper (1882-1967). Written in deceptively simple French, and ranging in length from three to six pages, each of Esteban's meditations consists of a single paragraph, followed by the date of the painting in question and a reference to a list at the end of the book which numbers the oils chronologically from 1921-63. Most of the meditations borrow their titles directly from the painting that inspired them: e.g. Maison pres de la voie ferree refers to Hopper's 1925 painting House By the Railroad. In his short introduction to the collection, however, Esteban specifically cautions the reader not to seek a precise correlation between his commentary and the painting which is its putative source. For his concern is not merely with what is overt but also with what is unseen - i.e., the events that he imagines have lead up to the particular time/place depicted in the painting - just as he is less concerned with presenting a series of distinct tableaux than with constructing a single running narrative. In this way, the distinguishing feature of Esteban's poesie critique could be said to lie in his phenomenological approach to Hopper's art, of the kind outlined by Gaston Bachelard in his 1958 The Poetics of Space. Houses, one should recall, were a principal thematic preoccupation of Hopper - slick as well as shabby motels, decaying Victorian homes, bland row houses, spare apartments, bleached Cape Cod dwellings. dreamer of (62), to use Bachelard's expression, Hopper painted a panoply of mythical American dwellings all of which are evoked in Soleil dans piece vide, and what Esteban seems to have captured is what Bachelard felt was the essence of such domains of intimacy: A house constitutes a body of images that give mankind proofs or illusions of stability. …" @default.
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• W61053742 date "1998-12-01" @default.
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• W61053742 title "Poesie Critique as Poetics of Space: Edward Hopper and Claude Esteban" @default.
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