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• W77191672 abstract "A f, as Henri Baatsch says, Henri Michaux's written work acts as a parallel creation -) and commentary on his graphic work (Baatsch 30-31), it is of great interest us examine more closely Michaux's livres de peintre where the poet juxtaposes his own drawings his poetic texts. The poet's handling of this mixed graphicverbal media is even more intriguing when we read in Passages his deliberate blurring of the traditional distinctions between the visual and verbal arts, preferring the visual: Les livres sont ennuyeux a lire. Pas de libre circulation. On est invite a suivre. Le chemin est trace, unique. Tout different le tableau: immediat, total. A gauche, aussi, a droite, en profondeur, a volonte. Pas de trajet, mille trajets, et les pauses ne sont pas indiquees. Des qu'on le desire, le tableau a nouveau, entier. Dans un instant, tout est la. Tout, rien n'est connu encore. C'est ici qu'il faut commencer a LIRE (P 115).1 In Emergences, resurgences, Michaux himself tells us of the inevitability of his using line express himself: Moi, aussi, un jour, tard, adulte, il me vient une envie de dessiner, de participer au monde par lignes (ER 7). He began painting in the mid1 930' s, partly as a result of an exhibition of Klee' s works, and partly because of his voyage the Far East, where the works of the Chinese classical painters showed him what could be done with just a few lines, just a few indications (Ashbery 398). Michaux disliked the complications of the traditional techniques of Western art, seeing it as too artificial and distant from life. According Ashbery, Michaux said he wanted his tracings to be the very phrasing of life, but flexible, but deformable, sinuous (Ashbery 330). In another interview Michaux, Ashbery relates the poet's feelings about poetry and painting: Both of them try express music. But poetry also tries express some non-logical truth a truth other than what you read in books. Painting is different there is no question of truth. I make rhythms in painting just as I would dance. This is not a verite (Ashbery 398). Painting, composing, writing: they all led Michaux survey, discover himself, record his adventure of life: J'ecris pour me parcourir. Peindre, composer, ecrire : me parcourir. La est l'aventure d'etre en vie (P 142). Painting for Michaux was better than writing. It had an exorcising power and showed des fantomes et demons que le poeme parvient tout juste a suggerer (Maulpoix 144). The painter is, therefore, not the rival of the poet, mais son double necessaire, son epure (Maulpoix 145). Michaux admired the totality of Eastern calligraphy where the dynamics of brushing the pictorial glyphs onto the void of the empty page seemed express the full participation of the writer in a physical, gestural tracing of language.2 From the Western world, although independent of the Surrealist movement, Michaux was certainly indebted the Surrealist poets for their pioneering efforts toward fusion of the arts (Williams 1995:109). The American action painters, Pollock and Tobey, though less admired than Klee and Ernst by Michaux, liberated him artistically and permitted him put down whatever came into his head (Ashbery 398)." @default.
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• W77191672 date "2016-01-01" @default.
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• W77191672 title "Reflections on Inter-Media Reflection in Henri Michaux's Labyrinthes" @default.
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