| Titre | Lautréamont vu par Jindřich Štyrský | |
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| Auteur | Lenka Bydžovskà, Hana Voisine-Jechová | |
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Revue | Revue des Etudes Slaves |
| Numéro | Vol. 74, no 1, 2002 | |
| Rubrique / Thématique | Littérature et beaux-arts dans les pays Tchèques de la fin de siècle aux avant-gardes, sous la direction de Xavier Galmiche et Markéta Theinhardt Articles |
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| Page | 143-150 | |
| Résumé anglais |
Lautréamont in the Eyes of Jindřich Štýrský
The painter Jindřich Štýrský, both a lover and connoisseur of literature, began the arduous task of illustrating Lautréamont in the late twenties, when he created 'illustrations' for the first Czech edition of extracts from Les Chants de Maldoror [The Songs of Maldoror]. His illustrations thus came well before the well-known era of the Surrealists' illustrations of Lautréamont' s work and he continued to illustrate Lautréamont up until his very last painting. His first illustrations are characterized by an artificial style: they are partly abstract compositions, and their relationship with the text is not concrete but based on thematic analogies, whose treatment was inspired by microphotographs or drawings from scientific publications of the time. In his later works, he drew his inspiration from actual impulses found in Maldoror but also in his own subconscious, as his dream transcriptions show: in his collage The Dream, he even refers programmatically to Lautréamont, quoting the famous metaphor in the sixth canto: 'Beautiful like... the chance encounter of a sewing machine and an umbrella on an operating table.' His last unfinished painting, an addition to his imaginary portrait of Lautréamont, was entitled Maldoror (1941). Source : Éditeur (via Persée) |
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| Article en ligne | https://www.persee.fr/doc/slave_0080-2557_2002_num_74_1_6781 |
