{"id":1288,"date":"2020-01-31T14:28:20","date_gmt":"2020-01-31T13:28:20","guid":{"rendered":"http:\/\/artinterview.bai-bao.fr\/?post_type=critique&p=1288"},"modified":"2022-12-31T13:08:04","modified_gmt":"2022-12-31T12:08:04","slug":"apollinaire","status":"publish","type":"critique","link":"https:\/\/artinterview.com\/en\/critique\/apollinaire\/","title":{"rendered":"Apollinaire"},"content":{"rendered":"\n
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Sous le Pont Mirabeau<\/em>,\u00a0Alcools<\/em>, \u00ab\u00a0calligrammes\u00a0\u00bb, le portrait pr\u00e9monitoire de De Chirico, tels sont les premiers clich\u00e9s qui viennent \u00e0 l\u2019esprit quand le nom de Guillaume Apollinaire est prononc\u00e9. Ils refl\u00e8tent certes la personnalit\u00e9 originale de cet \u00e9crivain qui \u00e9tait cependant bien plus qu\u2019un po\u00e8te.
D\u2019origine polonaise et de nationalit\u00e9 russe, Guglielmo Alberto Wladimiro Alessandro Apollinare de Kostrowitzky, na\u00eet en Italie en 1880. Surnomm\u00e9 par sa m\u00e8re Wilhelm, il opte pour un pseudonyme d\u00e8s le d\u00e9but de sa carri\u00e8re et se fait appeler par ses deux pr\u00e9noms francis\u00e9s: Guillaume Apollinaire, comme une r\u00e9f\u00e9rence au dieu de la lumi\u00e8re, de la raison et des arts: Apollon.\u00a0

Telle la divinit\u00e9 solaire, toute la vie d\u2019Apollinaire est envahie par l\u2019art. Il vit pour et avec l\u2019art. Ainsi disait-il: \u00ab\u00a0J\u2019aime l\u2019art d\u2019aujourd\u2019hui car j\u2019aime avant tout la lumi\u00e8re et tous les hommes aiment la lumi\u00e8re. Ils ont invent\u00e9 le feu\u00a0\u00bb.\u00a0

D\u2019une curiosit\u00e9 insatiable, tout l\u2019int\u00e9resse, surtout ce qui n\u2019est pas acad\u00e9mique. Boulimique, il d\u00e9vore tous les lieux o\u00f9 s\u2019expose l\u2019art: les expositions, les galeries, les salons et leurs vernissages, les ateliers d\u2019artistes. Il fr\u00e9quente aussi bien ses confr\u00e8res critiques comme Louis Vauxcelles plus mesur\u00e9s dans leurs propos, que les marchands tels que Kahnweiler, Vollard, Paul Guillaume, et les artistes du Bateau-Lavoir et d\u2019ailleurs: Matisse, Picasso, Braque, Derain, Vlaminck, Marie Laurencin, Duchamp, pour ne citer qu\u2019eux. Son activit\u00e9 est si intense qu\u2019il semblerait presque avoir le don d\u2019ubiquit\u00e9.\u00a0
Toutes ces sorties et rencontres l\u2019inspirent. Il s\u2019interroge. Respectueux de l\u2019art ancien mais enthousiaste face \u00e0 une soci\u00e9t\u00e9 en progr\u00e8s et ouvert aux nouveaux courants artistiques qui d\u00e9laissent l\u2019Impressionnisme, rien ne lui \u00e9chappe. Provocateur, il a l\u2019audace de critiquer le futurisme pour lui pr\u00e9f\u00e9rer le cubisme. Visionnaire, il vante l\u2019originalit\u00e9 de Duchamp dans les\u00a0M\u00e9ditations m\u00e9taphysiques\u00a0<\/em>(1913).\u00a0<\/em>Il invente les expressions \u00ab\u00a0orphisme\u00a0\u00bb et \u00ab\u00a0surr\u00e9alisme\u00a0\u00bb. Il joue avec les mots. Chaque \u00e9crit est une retranscription litt\u00e9raire de l\u2019oeuvre d\u2019art picturale d\u00e9crite. Sous sa plume, les peintures se transforment en prose.\u00a0Son attention ne se borne pas aux techniques artistiques classiques. Tous les formes d\u2019art l\u2019int\u00e9ressent: les arts africains et polyn\u00e9siens mais aussi l\u2019art dit populaire que sont le cirque, le th\u00e9\u00e2tre, les affiches et la cin\u00e9matographie.Tout devient pr\u00e9texte \u00e0 la r\u00e9daction de br\u00e8ves et chroniques. Il s\u2019exprime quotidiennement et librement sur tous ces sujets dans les journaux:\u00a0La Phalange<\/em>\u00a0(1907),\u00a0L\u2019Intransigeant (<\/em>1910-1914),\u00a0Paris Journal (1914)Les Soir\u00e9es de Paris\u00a0<\/em>(1913), le Mercure de France<\/em>, etc\u2026.Il donne des conf\u00e9rences. Ses opinions guident le monde de l\u2019art.\u00a0

Cet \u00ab\u00a0Homme-Epoque\u00a0\u00bb, tel que le d\u00e9finissait Alberto Savinio en 1917, est effectivement un homme de son temps, d\u00e9fenseur de l\u2019esprit nouveau et de la modernit\u00e9, \u00e0 l\u2019encontre du go\u00fbt du public, amoureux de sa libert\u00e9 de penser, \u00e0 la recherche de la v\u00e9rit\u00e9 et en qu\u00eate du progr\u00e8s.Naturalis\u00e9 fran\u00e7ais au printemps 1916, son patriotisme est exacerb\u00e9 dans ses chroniques artistiques. Victime de la Grande Guerre et de la grippe espagnole, Apollinaire s\u2019\u00e9teint \u00e0 l\u2019\u00e2ge de 38 ans, trop t\u00f4t dans cette effervescence artistique, \u00e0 l\u2019aube du dada\u00efsme et du surr\u00e9alisme. \u00a0

Anne-Elisabeth Heurtaux<\/p>\n\n\n\n

<\/p>\n\n\n\n

Image \u00e0 la une : De Chirico, Portrait [pr\u00e9monitoire] de Guillaume Apollinaire<\/em>, printemps 1914<\/h5>\n","protected":false},"featured_media":4561,"template":"","class_list":["post-1288","critique","type-critique","status-publish","has-post-thumbnail","hentry","categorie_crit-litterature"],"acf":[],"yoast_head":"\nApollinaire - Art Interview<\/title>\n<meta name=\"robots\" content=\"index, follow, max-snippet:-1, max-image-preview:large, max-video-preview:-1\" \/>\n<link rel=\"canonical\" href=\"https:\/\/artinterview.com\/en\/critique\/apollinaire\/\" \/>\n<meta property=\"og:locale\" content=\"en_US\" \/>\n<meta property=\"og:type\" content=\"article\" \/>\n<meta property=\"og:title\" content=\"Apollinaire - Art Interview\" \/>\n<meta property=\"og:description\" content=\"Sous le Pont Mirabeau,\u00a0Alcools, \u00ab\u00a0calligrammes\u00a0\u00bb, le portrait pr\u00e9monitoire de De Chirico, tels sont les premiers clich\u00e9s qui viennent \u00e0 l\u2019esprit quand le nom de Guillaume Apollinaire est prononc\u00e9. 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