Abstract
When the French poet Paul Valéry died in July 1945, the film critic Charles Spaak lamented that his face and voice had not been preserved on film. Spaak claimed not to have spared any effort in attempting to make a film about the poet when he was alive, and described scenes he had imagined: “A pilgrimage to Sète, a visit to the maritime cemetery were planned, with Valéry alive.
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Notes
- 1.
Charles Spaak, “Trop tard,” L’Écran français 8 (August 22, 1945): 15.
- 2.
Sacha Guitry, in the sound version of Ceux de chez nous he recorded in 1952.
- 3.
See the comprehensive study on films on art by Steven Jacobs, Framing Pictures: Film and the Visual Arts (Edinburgh: Edinburgh University Press, 2011).
- 4.
Gaston Diehl, “Le film sur l’art en France, ou la fixation d’un nouveau langage,” in Le film sur l’art (Brussels: Editions de la Connaissance, Paris: UNESCO, 1949), 52.
- 5.
Paul Davay, “Contraindre à voir, ou la peinture révélée,” in Le film sur l’art, 10.
- 6.
Term found in André Souris, “Musique et tableaux filmés: Notes sur la musique dans Le monde de Paul Delvaux,” in Le film sur l’art, 20–24.
- 7.
Davay, “Contraindre à voir, ou la peinture révélée,” 18.
- 8.
Alain Resnais , “Une expérience” (1948), in Gaston Bounoure, Alain Resnais (Paris: Seghers, 1962), 122.
- 9.
Marcel Martin (1955), quoted in Jean-Luc Lioult, “Autour du Rubens de Storck… et du Van Gogh de Resnais: quels films sur l’art?,” in Le film sur l’art et ses frontières (Aix-en-Provence: Publications de l’Université de Provence, l’Institut de l’image, les Ateliers du livre, 1998), 48.
- 10.
Léon Degand, Le cinéma et les arts plastiques (Liège: Association professionnelle de la presse cinématographique, n.d.), 13.
- 11.
Jacobs, Framing Pictures: Film and the Visual Arts, 2.
- 12.
Lynda Neal, The Haunted Gallery: Painting, Photography , Film c. 1900 (New Haven and London: Yale University Press, 2007), 93.
- 13.
Ibid.
- 14.
J. P. Hodin, “Deux films anglais,” Le film sur l’art. Bilan 1950 (Paris: UNESCO, 1951), 21.
- 15.
Ernst Kris and Otto Kurz , Legend, Myth and Magic in The Image of The Artist (New Haven and London: Yale University Press, 1979), 1.
- 16.
A number of photographs of Picasso by Mili were shown at the Museum of Modern Art in 1950. A few days after the opening of the exhibition, which also included portraits of Picasso by Robert Capa, a selection of these photographs was published in Life (“Speaking of Pictures, Picasso Tries New Art Form, Drawing in Thin Air with Light,” Life, January 30, 1950).
- 17.
Hans Namuth , “Photographing Pollock,” in Barbara Rose, ed., Pollock Painting (New York : Agrinde Publications, 1978).
- 18.
John Berger, “The Myth of the Artist,” in Paddy Whannel and Alex Jacobs, eds., Artist, Critic and Teacher, etc. (London: Joint Council for Education through Art, 1958), 21.
- 19.
Harold Rosenberg , “The American Action Painters,” in The Tradition of the New (Chicago and London: University of Chicago Press, 1982), 25.
- 20.
Karen L. Kleinfelder, The Artist, His Model, Her Image, His Gaze: Picasso’s Pursuit of the Model (Chicago and London: University of Chicago Press, 1993), 40.
- 21.
See Bernard Marcadé, “Pretentious, moi?” Tate Etc., no. 18 (January 2010): 80–83.
- 22.
Michael Kirby, Happenings: An Illustrated Anthology (London: Sidgwick and Jackson, 1965), 81.
- 23.
Surfaces et blocs de sensibilité picturale—Intentions picturales (Surfaces and Blocks of Pictorial Sensibility—Pictorial Intentions).
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Saurisse, P. (2018). Creative Process and Magic: Artists on Screen in the 1940s. In: Esner, R., Kisters, S. (eds) The Mediatization of the Artist. Palgrave Macmillan, Cham. https://doi.org/10.1007/978-3-319-66230-5_7
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