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While these volumes, like others in the series, may seem geared for the specialist, their value lies in their willingness to question, to use new evidence and new methods of addressing art history, and to forge new connections between disciplines. Patient readers will find these books can enliven and deepen their examination of art. The volume. Michel Leiris, later best known for his autobiographical and ethnographic writings, was a frequent visitor, as were Roland Tual and the writers Armand Salacrou and Georges Limbour. In , the rue Blomet group began to forge various links with the circle of Daniel-Henry Kahnweiler and Juan Gris and then, starting in late , it attached itself to the surrealist movement. Much the same appears to be true of Leiris. In contrast to the surrealists, the Kahnweiler circle appears to have had a great impact on the rue Blomet early on. Further, he constructed frontal spaces or motifs in his works by compressing depth, by selecting frontal motifs, by representing sitters facing directly out of the picture , which he paired with openings onto deep spaces, folding surfaces, or turning figures that oppose the frontality of his works. As important a figure as Bataille was for Leiris and especially for Masson beginning in the later s, he appears not to have met members of the rue Blomet group until late and not to have become particularly close to them for some time after that. The word suggested itself to me through my long, formative acquaintance with Michael Fried and his work. Still, Paul de Man has used the term in ways that my argument has sometimes brought to mind, and I want to address briefly the correspondences between my argument and his. But this understanding becomes at once the representation of an extra-textual meaning. Instead of uniting outer meaning with inner understanding, the metaphorical language of literature repeatedly stages its own failure to do so. We are just catching up with the text, reading the philosophical examination of language within poetic writing. And here we arrive at the matter of allegory. And of course, what we say here of writers counts equally for painters. In the past thirty years, only a few have advanced sustained arguments about his paintings of the s. The form becomes a sign for a woman or a bird as I work. The first stage is free, unconscious. These were both poured and applied with the brush and, in some black areas, spread with a rag while still wet. Then a layer of ocher glaze was poured from the top, forming rivulets of greater density—hence opacity—here and there. It became a triangle, to which I added a tail. It might be a bird. These motifs and the nature of the ground, in turn, called forth the descending lines of blue on the upper right. The marriage of method and metaphor in The Birth of the World is total, for the imagery recapitulates poetically the process of its own creation. But that is not how the picture came to be. Of course, following an indentation cannot really ensure any degree of spontaneity. Further, one can trace an impression in paper quite deliberately and with any conceivable aesthetic or moral idea in mind. He insisted on the importance of automatism to his work and commentators have consistently felt the need, in describing the impact of his paintings, to elaborate a relationship between that automaticness and the look of the pictures. The rest of his practice would then become something separate and merely technical, in which the artist would turn the spontaneous drawing into a painting, a process presumably filled with aesthetic preoccupations and taste. But herein lies the significance of his new work. So, should that disunity, etc. Nor is it surprising that he ended up, in , turning to collage to help produce such spaces. For the speaker no less than for the listener, language is definitely something other than a technique for ciphering or deciphering ready-made significations. Before there can be such ready-made significations, language must first make significations exist as guideposts by establishing them at the intersection of linguistic gestures as that which, by common consent, the gestures reveal. Our analyses of thought give us the impression that before it finds the words which express it, it is already a sort of ideal text that our sentences attempt to translate. But the author himself has no text to which he can compare his writing, and no language prior to language. His speech satisfies him only because it reaches an equilibrium whose conditions his speech itself defines, and attains a state of perfection which has no model. Like Leiris, Merleau-Ponty rejects the table-of-correspondences account of language. He then proposes that the meaning of an utterance cannot be separated from the utterance itself. The point should not be especially controversial. We generally recognize the provisionalness or the inadequacy of translations, paraphrases, and interpretations—at least we do for some texts and for certain purposes. There are other contexts in which language works much more like a code and in which a paraphrase is adequate. Hearing the real meaning of an utterance depends on listening for the contingency from which it has emerged, hearing it as a choice among imaginable alternatives not chosen. Expressive speech gropes around a significative intention which is not guided by any text, and which is precisely in the process of writing the text. If we want to do justice to expressive speech, we must evoke some of the other expressions which might have taken its place and were rejected, and we must feel the way in which they might have touched and shaken the chain of language in another manner and the extent to which this particular expression was really the only possible one if that signification was to come into the world. In short, we must consider speech before it is spoken, the background of silence which does not cease to surround it and without which it would say nothing. By implying the painting was nothing but a colored-in rendition of a drawing, Picon suggests that he feels its meaning and its value lie wholly in its correspondence to the drawing. And nothing separates us from that meaning any more. Working from a sketchbook could seem like establishing a table of correspondences that determines the shape of the painted utterance and thereby forecloses the possibility of abandon. And that effect—the effect of taking a double stance toward the written or painted object—may convey itself to the reader as well. One might say that automatism is how one obtains such a double relationship to a text or painting or anything else. Modern and Contemporary. Subscribe to our mailing list and be notified about new titles, journals and catalogs. Alexander Memorial. Contents Illustrations Introduction: Silence in Painting 1. Calligraphy: Vine and Sundial 2. Extension: Toys and Rainbows 3. Stroke: Medium and Compass 4. Mailing List Subscribe to our mailing list and be notified about new titles, journals and catalogs.

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