Apparitions, Daemons, and Emanations: Poetry and Painting in the Work of Georges Bataille, Pierre Klossowski, and Henri Michaux
Apparitions, Daemons, and Emanations: Poetry and Painting in the Work of Georges Bataille, Pierre Klossowski, and Henri Michaux
This book presents a new study of the visual arts and poetry in the work of three well-known French writers and artists from the mid-twentieth century-Georges Bataille, Pierre Klossowski, and Henri Michaux. Each was fiercely independent, belonging to no school, academy, or political persuasion. What do they have in common? While the book's three central essays do not initially set out to establish comparisons between these writers, common ground emerges: a shared combat against culture, a shared non-representational artistic practice. Their writing, poetry, and painting offer not a portrayal of things or ideas but rather an emanation or apparition of the unknown and the infinite, one charged with deepening art's relation to life.
This book presents a new study of the visual arts and poetry in the work of three well-known French writers and artists from the mid-twentieth century--Georges Bataille, Pierre Klossowski, and Henri Michaux. Each was fiercely independent, belonging to no school, academy, or political persuasion. What do they have in common? While the book's three central essays do not initially set out to establish comparisons between these writers, common ground emerges: a shared combat against culture, a shared non-representational artistic practice. Their writing, poetry, and painting offer not a portrayal of things or ideas but rather an emanation or apparition of the unknown and the infinite, one charged with deepening art's relation to life.
This book presents a new study of the visual arts and poetry in the work of three well-known French writers and artists from the mid-twentieth century--Georges Bataille, Pierre Klossowski, and Henri Michaux. Each was fiercely independent, belonging to no school, academy, or political persuasion. What do they have in common? While the book's three central essays do not initially set out to establish comparisons between these writers, common ground emerges: a shared combat against culture, a shared non-representational artistic practice. Their writing, poetry, and painting offer not a portrayal of things or ideas but rather an emanation or apparition of the unknown and the infinite, one charged with deepening art's relation to life.
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This book presents a new study of the visual arts and poetry in the work of three well-known French writers and artists from the mid-twentieth century-Georges Bataille, Pierre Klossowski, and Henri Michaux. Each was fiercely independent, belonging to no school, academy, or political persuasion. What do they have in common? While the book's three central essays do not initially set out to establish comparisons between these writers, common ground emerges: a shared combat against culture, a shared non-representational artistic practice. Their writing, poetry, and painting offer not a portrayal of things or ideas but rather an emanation or apparition of the unknown and the infinite, one charged with deepening art's relation to life.
This book presents a new study of the visual arts and poetry in the work of three well-known French writers and artists from the mid-twentieth century--Georges Bataille, Pierre Klossowski, and Henri Michaux. Each was fiercely independent, belonging to no school, academy, or political persuasion. What do they have in common? While the book's three central essays do not initially set out to establish comparisons between these writers, common ground emerges: a shared combat against culture, a shared non-representational artistic practice. Their writing, poetry, and painting offer not a portrayal of things or ideas but rather an emanation or apparition of the unknown and the infinite, one charged with deepening art's relation to life.
This book presents a new study of the visual arts and poetry in the work of three well-known French writers and artists from the mid-twentieth century--Georges Bataille, Pierre Klossowski, and Henri Michaux. Each was fiercely independent, belonging to no school, academy, or political persuasion. What do they have in common? While the book's three central essays do not initially set out to establish comparisons between these writers, common ground emerges: a shared combat against culture, a shared non-representational artistic practice. Their writing, poetry, and painting offer not a portrayal of things or ideas but rather an emanation or apparition of the unknown and the infinite, one charged with deepening art's relation to life.
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