QUENEAU Raymond (1903-1976). 2 autograph... - Lot 161 - Drouot Estimations

Lot 161
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QUENEAU Raymond (1903-1976). 2 autograph... - Lot 161 - Drouot Estimations
QUENEAU Raymond (1903-1976). 2 autograph MANUSCRITS signed "Raymond Queneau", ; 6 and 5 pages in-4. Two prefaces on painters. Painting and Poetry. This tribute to the painter André MARCHAND (1907-1998) appeared in Les Lettres Françaises of May 17, 1946 (press clipping attached). Queneau describes the art of a painter who "invites us to look at an extraordinary country, which on the maps is called Provence, a country which has made many bad poets sing, and silenced more than one stamped tourist, in love with postcards. [Marchand will have to accept that his name rhymes with Provence in the vocabulary of people interested in painting, just as Vinci rhymes with Mona Lisa and Picasso with Cubism. But we must not neglect his other paintings: landscapes of Burgundy, still lifes, and numerous portraits and female nudes. Etc. The 5th sheet is illustrated in the margin with 3 small ink sketches. Attached typescript, dated 3/5/46, with a dozen autograph corrections (5 p. in-4). This text was included in the catalog of an exhibition André Marchand, Gemälde at the Kunsthalle Bern in 1948: printed booklet enclosed, illustrated with an original drawing by André MARCHAND with a mailing to Queneau, on the title page: portrait of a woman seen in profile, in black pencil (21 x 16,5 cm). [Gala Barbisan, 1967] (4 and 1 p. in-4). Draft and finalization of his contribution to the catalog Gala Barbisan published by the Minuit editions on the occasion of the first exhibition in Paris of Gala BARBISAN (1904-1982), at the Pierre Domec gallery in November 1967. Evoking the big exhibition organized by the Company of the Art Brut of Jean Dubuffet in the Museum of the Decorative Arts before the summer 1967, Queneau is pleased that this exhibition allowed to clear the ground and "to reduce to their level the painters called of the Sunday, of the naïfs and the other profiteers of the modern art of which one was able to realize so of the perfect nullity and their very distant relations with the customs officer Rousseau who was neither naïf nor of the Sunday ". But he does not want to attach Barbisan to the Art Brut: "Gala Barbisan escapes any contemporary movement as well as the Art Brut. Strange work, rather mediumistic and where the psychoanalysis would not find its small there. On the artisanal side: Gala Barbisan does not spare her pains. We like to joke with the candid amateurs who admire the acrobatics of "doing" the painting with a brush, etc. Not so pleasant admiration. Gala Barbisan, with an infinite patience, chisels her paper in a meticulous genesis, constantly renewed and refracted to infinity, the proliferation of a bewitching and magic world ". Corrected typescript koint, with the catalog Gala Barbisan at Pierre Domec, illustrated with 23 reproductions in black and white preceded by 9 texts (Queneau, Claude Mauriac, Robbe-Grillet). Attached is the autograph manuscript of an article on the book Avant-hier by Kay BOYLE (1937); 1 page in-fol. (38 x 13,2 cm). On the occasion of the publication of Avant-hier [Year before last] by the American Kay Boyle (1902-1992), Queneau evokes two kinds of American writers, "those of the soil (Faulkner and Caldwell as well as Sinclair Lewis and Thomas Wolfe) and those of exile - or voluntary emigration (Henry Miller and Michael Fraenkel as well as Gertrude Stein - so strangely little known in France - and Hemingway. Kay Boyle belongs to the exile. Even better - and worse - her novels are about exiles. The model for the main character of the novel is D.H. Lawrence. This article was published in La Nouvelle Revue Française in May 1937, and later collected in Le Voyage en Grèce (Gallimard, 1973).
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