Le Coeur A Barbe : Journal Transparent
(ILIAZD) - [DADA] - Paul ELUARD
Sold by Librairie Le Feu Follet, Paris, France
Association Member:
AbeBooks Seller since 30 October 2003
Used
Ships from France to U.S.A.
Quantity: 1 available
Add to basketSold by Librairie Le Feu Follet, Paris, France
Association Member:
AbeBooks Seller since 30 October 2003
Quantity: 1 available
Add to basketAu sans pareil | Paris avril 1922 | 14 x 22.50 cm | agrafé | Édition originale de ce pamphlet avec des interventions d'Éluard, Tzara, Marcel Duchamp sous son pseudonyme Rrose Sélavy, Benjamin Péret, Erik Satie, Philippe Soupault, Georges Ribemont-Dessaignes, Vincente Huidboro, Walter Serner,Matthew Josephson,Théodore Fraenkel. Trois exemplaires trouvés en institutions (BnF, Thomas J. Watson Library, Princeton University Library, Ryerson & Burnham Libraries - Art Institute of Chicago). Couverture réalisée par Ilia Zdanevich (Iliazd)sur un motif composé de reproductions de gravures sur bois du XIXe siècle : "La couverture de Le Coeur à barbe est une image emblématique de l'esthétique Dada, où des gravures anciennes sont associées à des mots pour créer des jeux de mots visuels et des associations imprévisibles." (Princeton University Museum). Rarissime exemplaire en excellent état du seul numéro paru de cette célèbre revue Dada - la contre-attaque de Tristan Tzara à la suite des critiques d'André Breton dans le journal Com dia du 2 mars 1922. * "Coeur à barbe : journal transparent est un pamphlet de huit pages sur papier rose, décoré de vignettes ready-made, produit par Tzara et son groupe. Dada était en train de se scinder de manière acrimonieuse, un processus accéléré par un « Congrès de Paris » prévu, contre lequel les invectives publiées dans Le Coeur à barbe sont dirigées. Alors que Breton était impatient de se séparer du dadaïsme, Tzara était déterminé à le poursuivre. Le Congrès devait réunir les principaux groupes d'avant-garde, dont les cubistes et les puristes (Ozenfant et Le Corbusier), et avait été baptisé par Breton « Congrès pour déterminer les directives et la défense de l'Esprit moderne ». Pendant une brève période, Tzara se retrouva opposé à Breton et Picabia, qui s'étaient ralliés et avaient publié un autre journal éphémère, La Pomme des pins, en mars 1922. Ribemont-Dessaignes, Eluard, Soupault, Satie et Rrose Sélavy, entre autres, rejoignirent Tzara. La majeure partie de la brochure porte sur les incidents immédiats entourant les projets du Congrès (qui n'a jamais eu lieu). Tzara avait initialement prévu d'appeler sa petite revue L'Oeil à poils. Un barbe peut signifier « non coupé », comme les pages des livres de poésie de luxe" (traduit de Ades Dawn,The Dada reader : a critical anthology, 2006, p. 316). | [ENGLISH DESCRIPTION FOLLOWS] First edition of this pamphlet, with contributions by Éluard, Tzara, Marcel Duchamp under his pseudonym Rrose Sélavy, Benjamin Péret, Erik Satie, Philippe Soupault, Georges Ribemont-Dessaignes, Vincente Huidboro, Walter Serner, Matthew Josephson, Théodore Fraenkel. Three copies found in institutions (BnF, Thomas J. Watson Library, Princeton University Library, Ryerson & Burnham Libraries - Art Institute of Chicago). Cover designed by Ilia Zdanevich (Iliazd) on a motif created out of 19th-century woodcuts: "The cover of Le Coeur à barbe is an emblematic image of the Dada aesthetic, where old engravings are combined with words to create visual puns and unpredictable associations." (Princeton University Museum). Extremely rare copy in excellent condition of the only published issue of this famous Dada journal - Tristan Tzara's counterattack to André Breton's criticism in the March 2, 1922 issue of Com dia. * "Coeur à barbe : journal transparent " is an eight-page pamphlet on pink paper, decorated with ready-made vignettes, produced by Tzara and his group. Dada was in the process of splitting acrimoniously, a process accelerated by a planned "Paris Congress", against which the invectives published in Le Coeur à barbe are directed. While Breton was impatient to break away from Dadaism, Tzara was determined to carry on. The Congress was to bring together the main avant-garde groups, including the cubists and purists (Ozenfant and Le Corbusier), and had been dubbed by Breton "Congrès pour déterminer les directives et la défense de l'Esprit moderne". For a brief period, Tzar 8 p.
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