The livre d'artiste in Twentieth-Century France
Queen Mary University of London
Il n'est d'explosion qu'un livreA recent exhibition at the British Library, Breaking the Rules (2007–08), explored early-twentieth-century avant-garde journals and books as a space of experimentation and subversion. The exhibition highlighted the creation of a new aesthetics juxtaposing visual and verbal elements, from Guillaume Apollinaire's calligrammes and Futurist poem-paintings to Dada and constructivist journals, surrealist book objects and livres d'artistes. The term livre d'artiste will be used here to designate various forms of the twentieth-century book in France as a collaboration between poets and painters or texts and images. Given the multiple origin of the livre d'artiste, critical studies are situated at the intersection of several disciplines: the history and technique of the book, art history and criticism, literary studies and semiotics. Three key issues dominate critical debate on the livre d'artiste, relating to its definition (limits and legibility) and historical development (from the livre illustré to the livre objet); its production (the material book); and its interpretation (relations between words and images).1Stéphane Mallarmé
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Definitions: from ‘livre illustré’ to ‘livre objet’ |
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Until the end of the nineteenth century, the descriptive or imitative model — Horace's ut pictura poesis — predominated in the practices and accounts of book illustration. Priority was given to the text, the illustrator, usually a professional engraver, providing a visual equivalent of a theme or episode of the narrative. Traditional illustration has been considered as a ‘meta-text [...] a means of "writing" upon another text that makes it legible in different ways’, translating or paraphrasing the text.2 This logocentric conception of the illustrated book began to break down with Rimbaud and Mallarmé (‘Je suis pour — aucune illustration’)3 in poetry, and Cézanne in painting. Freed from the constraints of textual linearity and the imperatives of pictorial representation, poet and painter explored new concepts of poetic space and pictorial autonomy, and as a consequence dependence on a text or image was replaced by the poem or image's freedom to cohabit, alternate or clash with the other medium. Professional illustrators were replaced by painters as ‘alliés substantiels’ (René Char) of the poets.4 ‘Pour collaborer, peintres et poètes se veulent libres. La dépendance abaisse, empêche de comprendre, d'aimer’, writes the poet Paul Éluard.5 Parallèlement, with poems by Paul Verlaine and lithographs by Pierre Bonnard, published in 1900 by Ambroise Vollard, art-dealer turned publisher, is generally considered the first modern collaboration between an artist and a poet. Produced on fine papers with original engravings, these books revive fine printing techniques such as stencilling and lithography. They are generally unbound (en feuilles), cased or boxed. Resisting the industrialization of the book, they are usually limited editions (20–50 copies). Occasionally, however, artists and poets privilege mechanical reproduction (for example, Blaise Cendrars and Ferdinand Léger's La Fin du monde filmé par l'ange N.D., Sirène, 1919, 1225 copies). François Chapon, former director of the Bibliothèque littéraire Jacques Doucet, who has written extensively on the subject, uses the bibliophile term livre illustré or grand livre illustré to designate these luxury publications. He singles out the art historian and gallery owner Daniel-Henry Kahnweiler (1884–1979) who transformed the traditional illustrated book into ‘la rencontre du peintre et du poète’ on equal terms, bringing together avant-garde artists and poets in about 80 books published under his imprint Éditions de la Galerie Simon.6 W.J. Strachan uses the term livre d'artiste to distinguish the twentieth-century book from its earlier realizations. Michel Butor also uses the term to designate his own production, more than 500 books produced in collaboration with artists.7 Art historian Yves Peyré prefers the term livre de dialogue, which he defines as ‘l’égalité de deux expressions dans le surgissement d'une forme nouvelle'.8 Peyré's term livre de dialogue has the advantage of giving equal importance to the two collaborators (in contrast with livre illustré, livre d'artiste or livre de peintre which might suggest a hierarchy); moreover, it encompasses books by a single artist, such as Max Ernst's collage-novels or Joan Miró's Le Lézard aux plumes d'or (1971).
The principal studies in the field are essentially historical, presenting a chronicle and inventory of the livre d'artiste.9 It is noteworthy that the publisher is often given the central role, both in these historical accounts and in exhibitions of the livre d'artiste.10 Considered as ‘architecte du livre’ (Chapon), ‘bâtisseur’ (Peyré) or ‘maître d'œuvre’ (Pierre Berès), the publisher forms a ‘colloque des trois’ (Michel Leiris) with the poet and painter.11 Publisher and artist Gervais Jassaud (Collectif Génération, Paris) goes further, underscoring the active role of the publisher, who creates the concept of the book, and ‘marries’ the author with the artist.12
Breaking with the bibliophilic tradition of the (grand) livre illustré, the artists book is designed as a ‘democratic multiple’.13 Conceived, produced and often published by the artist (for example, Jacques Clauzel, Luis Casinada, Pierre Lecuire), it uses technological printing innovations (offset, facsimile, photocopy) and favours photographic images. Originating with Fluxus (Dieter Rot) and conceptual art (Ed Ruscha, Art and Language), the artists book developed primarily in the USA in the 1960s–1980s, but also in France with artists such as Robert Filliou, Annette Messager and Christian Boltanski.14 The medium of the book itself is central to the artists book, defined by Anne Moeglin-Delcroix, for instance, as ‘un livre qui est par lui-même une œuvre et non moyen de diffusion d'une œuvre’.15 The artists book thus also has a critical role as a reflection on the form and function of the book. While for Moeglin-Delcroix it preserves the sequentiality and seriality of the codex (as in Anne and Patrick Poirier's Les Paysages révolus, 1975), for others it constitutes a subversion of the book or ‘anti-book’ precisely thanks to its assault on the constraints of the codex.16 For example, Marcel Broodthaers, in Un coup de dés jamais n'abolira le hasard: image (1969), appropriates and blocks out Mallarmé's poem, thus radically questioning the limits and legibility of the text. Indeed, for one critic, the genre risks being a mere alibi in the face of ‘analphabétisme rampant’ among contemporary artists.17
Finally, the livre objet, as a limit-form of the artists book, both references and resists the form and function of the book.18 Through its shapes (Filliou's brick, Bertrand Dorny's pyramid, Gérard Duchêne's Livre-boule or Sylvia Echar's Livre sphérique) and materials (marble, cloth, gaufrette, plaster ...), it raises questions similar to those generated by the artists book but often in a more radical mode, relating first to genre (object or book?) and second to aim (subversion or sublimation of the book?).19 Hence, for some art historians, book objects are a category of the object (Moeglin-Delcroix), linked to sculpture or installation art (Drucker), which might explain why they are often left out of histories of the book, as well as why they are often displayed in museums rather than libraries. For others, they belong resolutely to the category of the book (Peyré). As for their aim, as a reflection on the book the livre objet has been considered an object of ‘bibliophilie ... ou biblioclastie’.20 Here, as a ‘livre détourné’ (Eric T. Haskell and Renée Riese Hubert) or a ‘livre dépravé’ (Gilbert Lascault), it encompasses both the destruction and renewal of the concept of the book.21 ‘Je veux les ouvrir à une parole nouvelle’, writes Max Sauze about his own livres objets, such as Livre brûlé et grillagé (1981).22
Definitions remain open to challenge, nevertheless. ‘Appelez ça comme vous voulez, moi je m'en fous’, protested Pierre André Benoit during a debate on the livre d'artiste.23 As the various definitions outlined above show, the livre illustré, livre de dialogue, artists book and livre objet have been considered both as distinctive categories and as overlapping modalities of the twentieth-century livre d'artiste. On the one hand, Moeglin-Delcroix proposes an exclusive definition of the artists book, limiting it to the 1960s–1980s (thus leaving out works such as Jean Dubuffet's 1948 Ler dla campane, although it has all the characteristics of the artists book – text and illustrations were produced by the artist, who published the book in his own imprint, L'Art brut). On the other hand, Noëlle Batt proposes a flexible definition of the livre d'artiste through the limits (‘les bornages’) of the genre, locating at one end of the spectrum the traditional livre illustré and at the other the livre objet.24 The diversity of definitions and boundaries suggests that the difference between the categories lies less in the nature of the work than in the subtleties of critical discourse, and that the livre d'artiste remains a proteiform genre, open to innovative forms.
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The material book |
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Focus on the material book has developed with more recent scholarship on materiality in the avant-garde (informed by art critics like Rosalind Krauss and Yves-Alain Bois), and with growing interest in genetic criticism. In contrast with logocentric concepts of the illustrated book, critical discourse in this category engages with books as corporeal objects: ‘tous mettent en scène le corps du livre’, claims artist and publisher Jassaud about his own production.25 ‘Un livre doit avoir toute la dignité d'une sculpture taillée dans le marbre’, wrote Miró in a letter to the publisher Gérald Cramer in 1948, underscoring both the making of the book as a creative process and its material reality.26 Strachan and Chapon are among the few critics to have focused on the technical aspects of book production. They give accounts, for example, of the role of engravers and printers, such as Féquet et Baudier for wood-engraving process, Leblanc and Lacourière for copper-engraving, Mourlot for lithographic printing.27 Drawing on letters, studies and interviews, other studies have explored in detail the production of individual books, such as A toute épreuve (1958), a collaboration between Miró, Eluard and Cramer; Max Ernst's collage books; or Butor's collaborations with Pierre Alechinsky.28
Bindings, in single copies or limited editions, enhance the book as a material object, appealing not only to the eyes but also to the sense of touch. The recurrent image of the hand on Paul Bonet's bindings for surrealist books, for instance, underscores the tactile quality of the book. The cover for the exhibition catalogue Le Surréalisme en 1947 (Galerie Maeght), produced by Marcel Duchamp and Georges Hugnet, features a rubber breast with the caption ‘Prière de toucher’. While little critical attention has actually been given to bookbinding,29 the tactile qualities of the book have been celebrated by both critics and artists. In ‘L'Art et le livre’, Butor writes:
Nous allons tourner autour du livre et donc du texte. Notre corps tout entier entre en danse. Le toucher importe [...] Il y a quelque chose que j'explore d'un côté de l'oeil, de l'autre avec les doigts [...] La manipulation du livre nous donne une expérience tactile extrêmement importante.30Such approaches, when they give priority to the tactility of the material book over the abstraction of reading, sometimes bypass the role of language, transforming the material book into a poetic space: ‘[l]e corps du livre est un corps poétisé’, writes Gérard Dessons.31
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Interpretation of the ‘livre d'artiste’ |
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‘Perhaps the hardest thing about the artist's book is to find the right way to talk about it’, writes Dick Higgins.32 I have suggested that studies of the livre d'artiste have been largely taxonomical (definitions) or historical (chronological inventories). Because of its existence as a novel semiotic reality, combining two distinct yet related modes of expression, studies of individual collaborations have to date only tentatively contributed to a critical methodology of the livre d'artiste.33 As a consequence, critique of the genre is often largely metaphorical. Poets and artists refer to the encounters between texts and paintings as ‘illuminations’ (Miró and Eluard), ‘illunations’ (Camille Bryen and Laforgue) or ‘révélations’ (Ernst and Eluard), ‘un collage’ (Ernst) or ‘un mariage’ (Jassaud). Similarly, critics allude to the collaboration as ‘une configuration d'emmêlements’ (François Rouan), ‘un entrelacs des extrêmes’ (Peyré), ‘le lieu d'une musique complexe’ (Dominique Fourcade), or ‘une alchimie de l'écriture et de la peinture’ (Edmond Nogacki). Among recurrent images one encounters those relating to architecture, music and light (Samson-Le Men), but also weaving and alchemy. This type of rhetoric should not be dismissed as merely subjective, however; its frequency suggests it should be considered in a critical light. Indeed, Hugo Caviola goes so far as to argue that metaphors, structured on similarity and difference, have the ‘power to bridge discursively distinct universes’.34 The livre d'artiste, similar in structure to that of metaphor, invites a rhetorical discourse, which remains however an aesthetic category, lacking the precision of abstract language.
A more objective, because historically grounded, approach has been to situate the livre d'artiste within its contemporary literary and artistic context. Work in this group identifies a common denominator such as a historical style or thematic or iconic analogies. Studies of cubist, Futurist or surrealist books, for example, have explored a common paradigm that unifies texts and images — cubism and collage, Futurism and simultaneity, surrealism and the disjunctive image.35 Analyses of Apollinaire and Derain's L'Enchanteur pourrissant (1909) have compared the texts and images through, for example, the poet and painter's shared symbolist aesthetic, or the concept of primitivism.36 Such inter-art comparisons seek to identify a unifying principle whereby text and image share a single creative principle or paradigm that transcends pictorial or textual specificity. As an example of ‘synchronic historiography that attempts to lay bare a period metaphor’,37 this type of approach synthesizes various disciplinary perspectives, glossing over the specificity of the media. Moreover, as an example of a homogenizing discourse, it contrasts with the aesthetics of difference, discussed below.
Informed by Roland Barthes's ‘Rhétorique de l'image’, Alain-Marie Bassy elaborates a semiotic reading of the traditional illustrated book. Basing his analysis on an illustration of Jean de La Fontaine's Fables, he identifies two poles: ‘image emblématique et allégorique’ (corresponding to Barthes's relais) and ‘l'illustration des temps modernes’ (ancrage).38 Rather than providing a ‘relay’ or ‘anchorage’ for the text, however, the image in the modern livre d'artiste is both interlinked with and independent of the text. Whereas inter-art comparison links poem and painting through analogy, semiotic analysis proposes homological links between verbal and pictorial elements, grounded on similar or parallel structures. In this approach the object of study is the ‘text’, whether linguistic or iconic, and its objective is to give an account of the relations between two distinctive yet interrelated semiotic systems. This is the case, for example, in Véronique Perriol's 2002 study of Supports en surface (1972), a work which combines Robert Rauschenberg's lithographs with Alain Robbe-Grillet's manuscript text. Perrol argues that text and image share similar structures, such as mise en abyme, intertextuality, quotation, collage.39 Such an approach respects the specificity — visual, verbal — of each of the elements correlated.
The important literature in critical theory on the opposition between poetry and painting, from Lessing to Foucault and Deleuze, underlines the irreducibility of seeing and saying, showing and telling, display and discourse.40 In more poetic terms, Peyré raises the question of the ‘androgynous’ nature of the livre de dialogue. Are we dealing with two realities or a single reality? Is the double being created metaphorical or literal? Are words and images complementary or hybrid?41 What, finally, is the nature of this monster, asks Dessons, ‘entité tératologique: objet à deux têtes, deux corps, quatre mains’?42 While traces of the nineteenth-century concept of the Gesamtkunstwerk, unifying poetry, painting and music, are still visible in the metaphorical language of present-day critics (in images such as weaving or alchemy), avant-garde aesthetics tends to focus on the principle of heterogeneity of the visible and the readable. Word and image both collude and collide on the page, in an encounter grounded on the Foucauldian principle of difference and différance:
Mais le rapport du langage à la peinture est un rapport infini [...] Ils sont irréductibles l'un à l'autre: on a beau dire ce qu'on voit, ce qu'on voit ne loge jamais dans ce qu'on dit, et on a beau faire voir, par des images, des métaphores, des comparaisons, ce qu'on est en train de dire, le lieu où elles resplendissent n'est pas celui que déploient les yeux, mais celui que définissent les successions de la syntaxe.43W.J.T. Mitchell was among the first critics to elaborate a ‘critical ideology’ grounded on the resistance of icon to logos.44 In her 1979 analysis of Raoul Dufy's illustrations for Mallarmé's Les Madrigaux (1920), Anne-Marie Christin posited the radical alterity of illustration, ‘une différence créatrice’, and raised the methodological question of difference and compatibility between image and text: ‘A partir de quelles transformations ou de quels facteurs positifs le heurt du texte et de l'image peut-il s'opérer? Comment cette différence se transforme-t-elle en relais?’45 R. R. Hubert pursues this approach, developing the concept of ‘une esthétique de la différence’ in surrealist collaborations.46
Critics often develop an organic metaphor of the generative process in this context to account for the close relations, within difference, between two heterogeneous modes of expression. In her discussion of Parler seul (1948), for example, R. R. Hubert argues that Tzara's text ‘détermine ou génère chez Miró des gestes [...] le texte met en branle le geste du peintre’.47 Similarly, Georges Raillard uses the term appropriation when referring to a text written by André Breton to accompany Miró's gouaches Constellations: enthused by his fascination for these gouaches, Breton is shown to be pursuing his own heady poetic and erotic trajectory, referring only indirectly to the pictorial stimulus that initially gave rise to his text.48 The poet thus provides less a paraphrase of, than a supplement to, the original pictorial act. This type of response is also evoked by Barthes who shows how Cy Twombly's pictorial signs or vecteurs set off the viewer's own verbal or graphic trajectory:
Je n'imite pas directement TW (à quoi bon?), j'imite le tracing que j'infère, sinon inconsciemment, du moins rêveusement, de ma lecture: je ne copie pas le produit, mais la production. Je me mets, si l'on peut dire: dans les pas de la main.49The desire to imitate the act of production of the artist or poet thus results in a text or image that has a performative function.50
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Critical horizons for the ‘livre d'artiste’? |
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The livre d'artiste as a genre continues to thrive, as testified by the numerous book fairs (such as the Salon du livre d'artiste(s) en Languedoc-Roussillon launched in 2001 by the Carré d'art / Bibliothèque Municipale in Nîmes), as well as the large number of petits éditeurs (such as L'Entretoise) who produce one or two books a year. Within the critical field, the livre d'artiste has been (thoroughly) chronicled and inventoried, definitions (tirelessly) questioned, and analysis of individual collaborations (meticulously) elaborated. Yet a number of questions relating to the field remain open. These questions concern, first, issues relating to the material book: what is the role of the lithographer, the engraver, the printer, the bookbinder, in the production of the book? To what extent does the material specificity of the work inform its meaning? How does the discursive framework provided by specific display techniques inform the reception of the livre d'artiste? Second, a number of methodological issues raised by the co-presence of word and image on the page remain to be explored further: for example, to what extent can (post)modernist theories of collage and montage contribute to a critical analysis of the livre d'artiste? Finally, on a more general level, since the 1990s academic research, particularly in the UK and the USA, has undergone a shift from the relative autonomy of disciplines to a growing interest in intermediality. French academia, for a time more reticent, is also adopting cross-disciplinary approaches: witness for example the recent conference Le Livre et l'artiste (Marseilles, Le Mot et le reste, 2007), which brought together specialists from the fields of book history, art and literary studies, as well as artists and publishers. Yet the critical field still remains largely pluridisciplinary, an accumulation of distinct fields of knowledge, as yet only tentatively interdisciplinary.
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Footnotes |
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1 The principal studies on the livre d'artiste in France include: Walter J. Strachan, The Artist and the Book in France: The 20th Century ‘livre d'artiste’ (London, Owen, 1969); Ségolène Samson-Le Men, ‘Quant au livre illustré ... ’, La Revue de l'art, 44 (1979), 85–106; Michel Melot, L'Illustration: histoire d'un art (Geneva, Skira, 1984); François Chapon, Le Peintre et le livre: l'âge d'or du livre illustré en France 1870–1970 (Paris, Flammarion, 1987); Walter J. Strachan, ‘The Livre d'artiste 1967–1980’, in Le Livre d'artiste: A Catalogue of the W. J. Strachan Gift to the Taylor Institution (Oxford, Ashmolean Museum and Taylor Institution, 1987), pp. 31–61; Yves Peyré, Peinture et poésie: le dialogue par le livre 1874–2000 (Paris, Gallimard, 2001); The Dialogue between Painting and Poetry: livres d'artistes 1874–1999, ed. by Jean Khalfa (Cambridge, Black Apollo, 2001).
2 Renée Riese Hubert, Surrealism and the Book (Berkeley, University of California Press, 1988), p. 23. For a discussion of different types of illustration, see for example Eric Haskell, ‘Visibilité / lisibilité et la poïétique de l'illustration’, in Poïétique (Paris, Poïésis, 1991), pp. 236–41; Ségolène Samson-Le Men, ‘Iconographie et illustration’, in L'Illustration: essais d'iconographie, ed. by Maria Teresa Caracciolo and S. Samson-Le Men (Paris, Klincksieck, 1999), pp. 9–17.
3 Stéphane Mallarmé, 
uvres complètes (Paris, Gallimard, 1945), p. 878.
4 R. Char, uvres complètes (Paris, Gallimard, 1983), p. 671.
5 Éluard, uvres complètes, i (Paris, Gallimard, 1968), p. 983.
6 Chapon, Le Peintre et le livre.
7 Strachan, The Artist and the Book in France; Michel Butor, ‘L'Art et le livre’, in L'Art et le livre, ed. by Jean-Pierre Foulon (Mariemont, Musée royal de Mariemont, 1988), pp. 19–35.
8 Peyré, Peinture et poésie, p. 21.
9 Strachan, The Artist and the Book in France (1969); Chapon, Le Peintre et le livre (1987); Peyré, Peinture et poésie (2001).
10 Recent exhibitions devoted to publishers of livres d'artiste include: Tériade et les livres de peintres (Le Château-Cambresis, Musée Matisse, 2002); Amitiés cachées: Pierre-André Benoit, cinquante ans d'édition avec les peintres du XXe siècle (L'Isle-sur-la-Sorgue, Musée Campredon/Maison René Char, 2004); De l'écriture à la peinture (Saint-Paul-de-Vence, Fondation Maeght, 2004).
11 Chapon, Le Peintre et le livre, p. 51; Yves Peyré, ‘Le Livre illustré, tangible entrelacs des extrêmes’, in Les Peintres et les livres (Toulouse, ARPAP, 1990), p. 36; Pierre Berès, ‘Le Mythe du livre de peintre’, Bulletin du bibliophile, 2 (1989), 347–68 (p. 362); Michel Leiris, ‘Préface’, in Joan Miró and Michel Leiris, Bagatelles végétales (Paris, Jean Aubier, 1956).
12 See Debra Bricker Balken, ‘Notes on the Publisher as Auteur’, Art Journal, 52 (1993), 70–71.
13 Johanna Drucker, A Century of Artists Books (New York, Granary, 1994), p. 195. It is also called artist's book, artists' book, book art or bookwork, and livre d'artiste in French.
14 The Bibliothèque Nationale de France has a collection of more than 4,000 artists books, published since the early 1960s, while the Bibliothèque Kandinsky (Centre Georges Pompidou) houses 3,500 artists books. The first major exhibition in Paris was Livres d'artistes: l'invention d'un genre 1960–1980 (Bibliothèque Nationale de France), curated by Anne Moeglin-Delcroix, whose doctoral thesis was published on this occasion, Esthétique du livre d'artiste 1960–1980 (Paris, Place/Bibliothèque Nationale de France, 1997). The substantial critical literature on the subject focuses mainly on North American works: see Stefan Klima, Artists' Books: A Critical Survey of the Literature (New York, Granary, 1998). For a discussion of French artists books, see for example: The Artist's Book: The Text and its Rivals, ed. by R. R. Hubert (=Visible Language, 25:2–3 (Spring 1991)); Guy Schraenen, D'une œuvre l'autre: le livre d'artiste dans l'art contemporain (Mariemont, Musée royal de Mariemont, 1996); Pierrette Turlais, Livres d'artistes: l'invention d'un genre: 1960–1980 (Paris, Bibliothèque Nationale de France, 1997).
15 Moeglin-Delcroix, Esthétique du livre d'artiste, p. 51.
16 See Anne Moeglin-Delcroix, ‘La Fin de l'illustration dans le livre d'artiste’, in L'Illustration, ed. by Caracciolo and S. Samson-Le Men, pp. 381–94; Harry Polkinhorm, ‘From Book to Anti-Book’, in The Artist's Book, ed. by Hubert, pp. 139–49. See also: R. R. Hubert, ‘Readable — Visible: Reflections on the Illustrated Book’, Visible Language, 19:4 (1985), 519–38; Jessica Prinz, ‘The "Non-Book": New Dimensions in the Contemporary Artist's Book’, in The Artist's Book, ed. by Hubert, pp. 283–302.
17 Peyré, ‘La Connivance agonale, digression sur le livre illustré’, in Biennale du livre d'artiste (Uzerche, Pays-Paysage, 1990), quoted by Moeglin-Delcroix, Esthetique du livre d'artiste, p. 24.
18 For an inventory and discussion of the book object, see for example: Livres d'artiste/livres-objets (Paris, CERPM, 1985); L'Art et le livre, ed. by Foulon.
19 See for example the debate on ‘L'Art et le livre’, in D'un livre l'autre, ed. by A. Balthazar (Mariemont, Musée royal de Mariemont, 1986); Drucker, A Century of Artists Books; R. R. Hubert and Judd D. Hubert, The Cutting Edge of Reading Artists' Books (New York, Granary, 1999).
20 See Biblioclastes ... bibliophiles, ed. by Aimé Maeght (=L'Art vivant, 47 (1974)).
21 Le Livre dans tous ses états: livres d'artists, livres uniques, livres objets, livres détournés, livres peints, ed. by E. T. Haskell and R. R. Hubert (Paris, Galerie Caroline Corre, 1988); Gilbert Lascault, ‘Livres dépravés’, Chroniques de l'art vivant, 47 (1974), 6–8.
22 Sauze, in D'un livre l'autre, ed. by Balthazar, p. 81.
23 Biennale du livre d'artiste, p. 38.
24 Batt, ‘Le Livre d'artiste, une œuvre émergente’, in Peinture et écriture 2: le livre d'artiste, ed. by Montserrat Prudon (Paris, La Différence / UNESCO, 1997), pp. 21–34. In a similar spirit Henri Béhar has situated the avant-garde book ‘entre la quête du Livre unique et le refus des livres’: ‘Panneaux muraux’, in Le Livre surréaliste (=Mélusine, 4 (1982)), 343–56 (p. 345).
25 G. Jassaud, ‘Faire parler le livre’, in Livres d'artistes de ‘Collectif Génération’, ed. by Gervais Jassaud (Paris, AFAA and Générations, 1991), p. 64.
26 Anne Hyde Greet, Joan Miró, Gérald Cramer: une correspondance à toute épreuve, ed. by Jean-Charles Giroud (Geneva, Patrick Cramer, 2002), p. 29.
27 See also David Blundell and Amélie Blanckaert, ‘The Making of the ‘livre d'artiste’’, in The Dialogue between Painting and Poetry, ed. by Khalfa, pp. 153–56.
28 See Anne Hyde Greet, ‘Miró, Eluard, Cramer: A toute épreuve’, Bulletin du bibliophile, 2–3 (1983), 232–42 and 346–68; Annick Ehrenström, ‘A toute épreuve’, in Ehrenström, Un éditeur genevois: Gérald Cramer: au fil de ses archives de 1942 à 1986 (Geneva, Bibliothèque Publique et Universitaire de Genève, 1988); Anne Hyde Greet, ‘Max Ernst and the Artist's Book: From Fiat Modes to Maximiliana’, in Max Ernst beyond Surrealism: A Retrospective of the Artist's Books and Prints, ed. by Robert Rainwater (New Canaan, CT, New York Public Library, 1986), pp. 99–156; Michel Butor and Michel Sicard, Alechinsky dans le texte (Paris, Galilée, 1984).
29 See however John Anzalone and Ruth Copans, ‘Covering the Text: The Object of Bookbinding’, in The Artist's Book, ed. by Hubert, pp. 257–69.
30 Butor, ‘L'Art et le livre’, p. 26.
31 G. Dessons, ‘Tératologie du livre d'artiste’, in Peinture et écriture 2, ed. by Prudon, pp. 35–43 (p. 41).
32 Higgins, ‘Preface’, in Artists Books: A Critical Anthology and Source Book, ed. by Joan Lyons (Rochester, Smith, 1985), p. 12.
33 See for example Samson-Le Men, ‘Quant au livre illustré ...’; R. R. Hubert, Surrealism and the Book; Thomas Jensen Hines, Collaborative Form: Studies in the Relation of the Arts (Kent, OH, State University Press, 1991).
34 Caviola, ‘The Rhetoric of Interdisciplinarity’, in Text and Visuality, ed. by Martin Heusser and others (Amsterdam, Rodopi, 1999), pp. 45–55 (45).
35 Marjorie Perloff, The Futurist Movement: Avant-Garde, Avant-Guerre, and the Language of Rupture (Chicago University Press, 1986); Eleanor Garvey, ‘Cubist and Fauve Illustrated Books’, Gazette des Beaux-Arts, 63 (1964), 37–50; Gérard Bertrand, L'Illustration de la poésie à l'époque du cubisme, 1909–1914 (Paris, Klincksieck, 1971); R. R. Hubert, Surrealism and the Book.
36 Jane Lee, ‘L'Enchanteur pourrissant’, Revue de l'art, 82 (1988), 51–60; Eric de Chassey, ‘Sur L'Enchanteur pourrissant de Derain’, L'il, 485 (1997), 68–75; see also Anne Hyde Greet, Apollinaire et le livre de peintre (Paris, Minard, 1977).
37 Caviola, ‘The Rhetoric of Interdisciplinarity’, p. 45.
38 Barthes, ‘Rhétorique de l'image’, Communications, 4 (1964), 40–51; Bassy, ‘Du texte à l'illustration: pour une sémiologie des étapes’, Semiotica, 11:4 (1974), 297–334.
39 Perriol, ‘Traces suspectes en surface: un dialogue entre Robert Rauschenberg et Alain Robbe-Grillet’, Nouvelles de l'estampe, 181 (2002), 7–16.
40 See Aron Kibédi-Varga, ‘Entre le texte et l'image’, in Text and Visuality, ed. by Heusser and others, pp. 77–92; Lauriane Fallay d'Este, Le Paragone: le parallèle des arts (Paris, Klincksieck, 1992).
41 Peyré, ‘Le Livre comme creuset’, in Le Livre et l'artiste (Marseilles, Le Mot et le reste, 2007), pp. 33–68.
42 Dessons, ‘Tératologie du livre d'artiste’, p. 35.
43 Foucault, Les Mots et les choses (Paris, Gallimard, 1966), p. 25.
44 W. J. T. Mitchell, Blake's Composite Art (Princeton University Press, 1978); id., Picture Theory (Chicago University Press, 1984).
45 A.-M. Christin, ‘Images d'un texte: Dufy illustrateur de Mallarmé’, Revue de l'art, 44 (1979), 69–84; see also Christin, ‘Le Poète-illustrateur: à propos du recueil Les Mains libres de Man Ray et Paul Eluard’, in Ecritures II, ed. by Anne-Marie Christin (Paris, Le Sycomore, 1985), pp. 323–45.
46 R. R. Hubert, ‘Miró et le livre surréaliste’, in Le Livre surréaliste, pp. 227–40 (p. 240).
48 G. Raillard, ‘Comment Breton s'approprie les Constellations de Miró’, Cahiers de Varsovie, 5 (1978), 171–80.
49 Barthes, ‘Cy Twombly: non multa sed multum’, in Barthes, L'Obvie et l'obtus (Paris, Seuil, 1982), p. 158.
50 See Elza Adamowicz, Ceci n'est pas un tableau: les écrits surréalistes sur l'art (Lausanne, L'Âge d'homme, 2004), Chapter 5.
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