APOLLINARY (Guillaume ). Manuscript largely... - Lot 72 - Osenat

Lot 72
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APOLLINARY (Guillaume ). Manuscript largely... - Lot 72 - Osenat
APOLLINARY (Guillaume ). Manuscript largely autograph signed " Guillaume Apollinaire ", entitled " La Vie anecdotique. M. Guy Lavaud. Jean Lombard. Legend of Moreas in America. Cubists and Poets". [1912]. 9 pp., i.e. pages 1 to 3 and 5 to 9 in the hand of Guillaume Apollinaire, with erasures and corrections, and pages 4 to 6 ("Jean Lombard") in another hand with autograph corrections by Guillaume Apollinaire. Chronicle of 4 artistic and literary notes, published on November 16, 1912 in "La Revue de la quinzaine" of the Mercure de France, integrated in 1926 in the posthumous collective edition Anecdotiques published by Stock. "« ... I recently met a Dutch poet, Mr. Albert Verweg [Verweij], director of an esteemed journal, De Beweging (The Movement). He told me that while the French press was doing its utmost to discredit modern French art, that is to say THIS CUBISM THAT I HAVE LONG TIME DEFENDED ALONE, in Holland, on the contrary, the Mayor of Amsterdam was inaugurating a cubist exhibition at the Museum. Thus, AS IN PARIS PENALTIES WERE REQUESTED AGAINST COUPLE PENALTIES TO HAVE AESTHETIC OPINIONS DIFFERENT from those that are common in the newsrooms, in Amsterdam cubism was made an official reception. I asked Mr. Verweg if he knew the reasons for such a big difference in the treatment of the new painting, no longer an art of imitation, but an interior art. The poet from the Balearic Islands, a mature man with a true artistic culture, answered: "It is because in Holland everyone has been interested in painting for a long time and there is not a poet in our country who has not immediately grasped the relationship between the new painting and poetry". WE MUST NOT FORGET THAT [ROBERT] DELAUNAY, [ALBERT] GLEIZES, [HENRI] LE FAUCONNIER, [JEAN] METZINGER, [FERNAND] LÉGER, THAT IS TO SAY MOST CUBIST PAINTERS LIVE IN THE COMPANY OF POETS. As for Picasso, who invented new painting and who [is], we can no longer doubt it today, the highest artistic figure of that time, he
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