Home Questions Tags Users Unanswered. What is the most common polite informal way to refer to a woman or man in French? Today I was speaking in French about the guy who I do a skype french language exchange with. I would just use celui or celle , the gender being grammatically marked it lifts the ambiguity "the one" has in English. Laure is right, most contexts where "guy" is used in English will be reformulated with "celui" in French. If you want to sound idiomatic, don't translate words, translate sentences or even groups of sentences. There are different possible translations for guy in French.
Those are Mec : most familiar of the four solutions Type : designates a rather ordinary personne. So someone you would't know mostly. Can be used with friends e. Allez les gars! Homme : a better translation would be man , it is the most formal of the four. Monsieur : highly formal. Six Masters in Disillusion. This essay by Algar Thorold, which was first published in the Albany Review in and later included in a book Thorold published in with the above title, is an analysis of Huysmans work and its relation to Naturalism.
It includes some minor changes to bring the essay on Huysmans, who had died in , up to date.
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Huysmans et le Satanisme. When Bricaud adapted it for his book-length study published five years later, some material in the essay was excluded, presumably for legal reasons. This study by Joanny Bricaud was published by Chacornac in Huysmans Occultiste et Magicien. Sur la tombe de Huysmans. Great Penitents.
BEYOND ILLUSTRATION: THE LIVRE D'ARTISTE IN THE TWENTIETH CENTURY
It was published by Macmillan in Although it is interesting as a record of how Huysmans was seen at the time by a particular group of people, it is not to be trusted as a piece of critical writing, being full of the most basic errors of fact. New York Times. Le Temps.
Le Figaro. L'Echo de Paris. The Times. Mercure de France. The Nation. New York: USA. The Times Literary Supplement. The Academy. The Athenaeum. Contains a number of factual errors. The Illustrated London News. Polybiblion Revue Bibliographique Universelle.
The Oakland Tribune. The Star New Zealand. L'Art Moderne. Texts about Huysmans This section includes a selection of book reviews, contemporary profiles and interviews, posthumous memoirs, literary criticism, and obituaries. It is interesting to compare these woodcuts with the larger illustrations Derain had done three years previously for Apollinaire's L'Enchanteur pourrissant. With thirty-six original woodcuts twelve in color by Kandinsky. One of copies on Hollande van Gelder, signed by the artist. Lilly Library call number: Owned by Arts Museum.
Kandinsky's central position in the development of modern art is self-evident. In so doing, he opened the way for the development of non-objective book "illustration" as well. Although well known as an artist, Kandinsky's contribution to literature is largely overlooked. Jean Arp, one of the founders of Dada in Zurich during the First World War, has emphasized the impact that Kandinsky's sonorous poems have had on modern poetry. With three original etchings by Picasso. One of ninety-one copies on Hollande van Gelder, of a total edition of copies, signed by the artist and author.
A17 S57 vault. The third volume in the Matorel trilogy. These are the last of Picasso's early Cubist illustrations and make an interesting comparison with those he did for the first volume , Saint Matorel , in With the completion of this trilogy and the establishment of artists like Dufy, Derain, and Picasso as book illustrators, the foundations were laid for the newly developing genre of the livre d'artiste.
This is the second of many books he was to illustrate and is included here for its distinctly twentieth-century blend of typographical and visual elements. The "illustrations" combine both Cubist and Dada features and are produced in color by stencil. La Fin du monde is a typical product of the literary and artistic avant-garde of ; it is a witty attempt to convey a sense of the accelerated tempo of modern "Americanized" life through literary analogues to the newly developing techniques of the cinema.
With illustrations by Lhote. This book, illustrated with colored reproductions of drawings by the Cubist painter Lhote, is included here for the original sketch by Cocteau which accompanies the presentation inscription to his friend Maurice Sachs. Executed in Cocteau's typical style, it reminds us how doubly talented he was.
With twelve original lithographs by Kokoschka. One of a total edition of copies with unsigned lithographs. The text for this edition is lithographed in the hand of E. Weiss, and a unique attempt has been made to integrate letter and image. The illustrations are typical examples of Kokoschka's expressive power at this period. Because of the intimate relationship of text and visual elements, Kokoschka is among a handful of artists whose work is given serious attention by both art historians and literary scholars. With fifty-four etchings including initial letters by Bonnard.
One of thirty copies on Japon ancien with suite , of a total edition of copies. Ref: AB 30, AF This edition of Mirbeau's story of a little dog is notable as the first occasion upon which Bonnard made use of etchings for illustration. Like his more familiar lithographs, they are imbued with a sense of freshness and spontaneity. With four original lithographs by Gris. Ref: AB , K A48 C34 vault. Henry Kahnweiler commissioned these illustrations to Salacrou's play Le Casseur d'assiettes. With four original lithographs one in color by Gris.
Ref: K 23, PS T B6 vault. Juan Gris' lithographs for Gertrude Stein's first book published in France are among the last he completed before his death in Stein has written that the close understanding which existed between Gris and herself was the result of a shared artistic "conception of exactitude. With one original etching and twenty-four original lithographs with suite by Vlaminck. Ref: PS U53 H76 In addition to illustrating his own poems, Vlaminck produced lithographs for texts by Raymond Radiguet Le Diable au corps and Julien Green, among others.
With forty-eight original woodcuts by Craig with suite, individually initialled by the artist. One of seventeen copies on Japan paper, of a total edition of copies. Ref: AB 66 English edition. Lilly Library call number: Z A1 S vault. This work is one of the finest examples of the Cranach Press, which was founded in Weimar, Germany in Count Harry Kessler directed the press, and Edward Prince, who had worked for the Kelmscott Press in England, cut a special typeface for him. Craig worked for over sixteen years on these woodcuts, which he developed from his designs for his production of Hamlet at the Moscow Art Theatre in The carefully conceived integration of typography and illustration, as well as the insistence upon the force of a page in which black predominates, clearly locate this work in the tradition of fine printing originating in late nineteenth-century England.
The fact that English artists such as Craig and Eric Gill illustrated editions for this press indicates the international scope of the fine press movement. In this connection Aristide Maillol 's woodcuts for the Cranach edition of Virgil's Eclogae also deserve special mention. With an original etching by Brancusi. One of copies on Japanese vellum of an edition of copies, signed by the author. Brancusi, one of the leading sculptors of the twentieth century, produced little graphic work, but his reputation as an avant-garde abstract artist seems to have been behind his selection to create the frontispiece for this early excerpt from Joyce's Finnegans Wake Picasso, who had been approached first, refused on the grounds that he never did commissioned portraits.
It is intended as a representation of Joyce, which Brancusi felt expressed the "sens du pousser" which he found in the Irish writer. Ellmann reports that when the sketch was shown to Joyce's father, he remarked gravely, "The boy seems to have changed a good deal. An original double page ink drawing, heightened with color, by Cocteau. Jean Cocteau's talent and versatility make him one of the more interesting figures of this century. His contributions as playwright, novelist, poet, artist, and film maker have all had their impact on our time.
Since most of his book illustration has been in the form of line drawings rather than original graphics, he has not been represented in major exhibitions of the artist and the book. The present volume includes an original colored drawing by Cocteau on the half-title of his most famous novel. The sketch is part of a presentation inscription to his friend Jacques Marmel.
With twenty-two original mixed etchings by Rouault and wood engravings cut by Georges Aubert. One of copies on Vidalon with etchings on Arches and Rives, of a total edition of copies. The publisher Vollard had long been fascinated by Alfred Jarry 's play Ubu Roi first performed in , a work which profoundly affected the direction of twentieth-century French drama. He continued to expand upon the satirical adventures of his hero, and commissioned Rouault to illustrate the present volume, recounting Ubu's experiences in the colonies.
Rouault began work on the project in The final effect of the mixed etchings was obtained through a process called hand-photogravure, in which his original sketches were transferred to the copperplate by photography and then worked over in a variety of techniques including drypoint, etching, and aquatint. Rouault spent a total of sixteen years working on these illustrations, including the wood engravings. With six original etchings by Picasso.
One of an edition of copies on Rives, signed by the artist. This is the only book published in America with original etchings by Picasso. It is perhaps the single most successful artistic production of the Limited Editions Club, and one of the few examples of the livre d'artiste produced in this period. No serious student of Picasso's work can ignore his prolific book illustration, and these etchings are among the finest in his classical style.
With six original soft-ground etchings and twenty reproductions of preliminary drawings by Matisse.
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One of copies, signed by the artist. Lilly Library call number: PR O9 U4 vault. Joyce was worried that the Frenchman might not be familiar enough with the Irish terrain to do the job. He attempted to have a friend in Ireland send the artist an illustrated weekly from Dublin around Although legend has it that Matisse began and finished Ulysses in one evening, he later admitted that he never read Joyce's novel. His "illustrations" depict six episodes from Homer's Odyssey. The Limited Editions Club text of Ulysses is still the most accurate available to scholars. The decision to include reproductions of the preliminary sketches for the finished etchings also lends the book a special interest.
Although much of Matisse's later graphic work was done as book illustration, this is the only example of his use of the soft-ground etching technique. With seventeen original colored etchings and eighty-two wood engravings. Ref: AB , PS U2 P28 vault. This is the last book issued by the great publisher Vollard. Rouault had been working on a series of preparatory paintings for this theme for several years, and some of the resulting wood engravings cut by Georges Aubert are dated as early as Here, as in much of Rouault's work, his youthful apprenticeship to a stained-glass maker is apparent, lending a medieval flavor to the whole.
By way of contrast it may be noted that Rouault also produced fourteen etchings illustrating Baudelaire's Les Fleurs du mal.
He was prevented by the Second World War from completing the thirty plates he had planned, and the book did not appear. With thirty-one original aquatints by Picasso. One of copies on Vidalon wove of a total edition of copies. This work is generally regarded as the most important bestiary published in this century. Picasso's aquatints for Buffon's Histoire naturelle were begun in , commissioned by Vollard.
The publisher's death in an automobile accident in , on the eve of the outbreak of the war, was a blow to Picasso and many others. Nevertheless Picasso continued to work on the series, even during the German occupation; and the book was finally brought out in by Martin Fabiani. This process allows the artist to achieve an almost infinite variety of grey and black tones, while maintaining an impression of free-flowing spontaneity.
The results of this technique are evident throughout the series, including plates in which Picasso has added texture by using his fingerprints. With three original etchings by Tanguy. One of copies on papier de Shadowmould, with the etchings signed by the artist. Here he illustrates a text by Yvan Goll one of the poets most popular with French artists of the Twenties and Thirties. Goll was also the Paris agent who secured the rights to the first German translation of James Joyce's works, and he later assisted Samuel Beckett and others in the French translation of a chapter from Finnegans Wake.
Tanguy is an artist whose work is known by sight to tens of thousands of readers who have never heard his name because reproductions of his paintings have been widely used as cover illustrations for science fiction paperbacks. With six original colored etchings by Villon. Ref: AB , AF With ten original engravings by Vuilliamy with two suites and a plate. O C88 copy 1. A good example of post-World War II surrealist book illustration. With four original lithographs by Picasso. The development of Picasso's style may be closely followed in his book illustration, as may be seen in these typical lithographs from the late Forties.
The book was reissued in English translation in , and together with the Limited Editions Club Lysistrata is one of only two books published in America with original graphics by Picasso. The text was conceived while the author ws in New York, and the title of the work refers to the Indian name for a sector of Brooklyn. The poems are dedicated to Picasso. Ref: ABF His bestiary in a surrealist vein is matched by poems they inspired, printed in an equally fanciful mood.
They are reminiscent of both Apollinaire and more recent ventures into concrete poetry. With fourteen original lithographs by Nakache. He centers upon the theme of the clown, which has had such importance in both art and literature in the past century.
With seven original zinc etchings by Signovert. One of forty-two copies on Auvergne, signed by the artist and author. Francis Ponge has furnished texts for illustration by numerous important artists, including Jean Dubuffet's first effort in this field lithographs to Ponge's poetry in The high relief etchings by Signovert point toward the increased interest of printmakers since in the tactile qualities of the medium.
The almost sculptural effects attained aid the artist in breaking away from the notion of illustration as a solely two-dimensional mode of expression. With three original colored etchings by Tanguy. Size: 27 x Ref: PC A G75 vault. A more recent example of Tanguy's work, these etchings were published only a year before the artist's death. A comparison with his illustrations for Yvan Goll 's text also exhibited reveals the consistency of Tanguy's artistic style over the years.
Laude's prose has also been illustrated by Raoul Ubac. With an original colored etching by Char. Size: 14 x 9. It offers us a clear example of a work in which we might expect to find a meaningful relationship between word and image. Char broke with Surrealism in , and the establishment of his reputation as a poet has been largely post-World War II. With four original colored etchings by Masson.
In the intervening years he established himself both as a painter and as a prolific book illustrator for texts by such authors as Coleridge, Malraux, Jean Paulhan, and, more recently, Rimbaud. Masson's diverse literary preferences include Nietzsche, Joyce, and Robbe-Grillet. The etchings for Mines de rien reflect a later stage in the artist's style, and Masson has recently spoken of his work as being situated between Kandinsky and Pollock in spirit.
With an original colored etching by Picasso. One of copies on Japan, signed by the artist. Artaud's work has received more extended treatment by such artists as Max Ernst, who produced ten original etchings for Galapagos , Les Iles du bout du monde This edition is included because it contains one of the few etchings by Picasso printed in color.
With numerous original woodcuts, each signed by the artist. One of an unspecified number of copies on handmade paper. W7 vault Flat. An example of the continuation of the private press movement in Germany in the post-World War II era. The text as well as the full-page illustrations are block-prints, and, in the tradition of William Morris, the artist is solely responsible for the total visual effect of the work.
Dante has continued to attract both artists and bookmakers in the twentieth century. One of copies of a total edition of copies, signed by the artist and author. Size: 13 x H N93 This charming work is one of several which demonstrate that the livre d'artiste does not necessarily have to be unwieldy in its physical dimensions. With five original colored etchings by Villon.
The writings of Max Jacob continue to attract the interest of artists and publishers. These etchings are representative of Villon's style during the last years of his life d. With nineteen original woodcuts by Braque. P6 S56 vault Flat SL. One of the finest French livres d'artiste of the Sixties, this book stands as a witness to the enduring relationship between artists and writers of the School of Paris.
Braque himself selected the poems for this edition, which are taken from Apollinaire's love lyrics written during World War I, and addressed to "Lou. The final page bears the inscription. Size: 42 x 32 cm. Each volume one of eighty-five copies on Auvergne, of a total edition of copies, signed by the artist and author. Illustration is always a secondary matter. The important thing is that a book must have all the dignity of a sculpture carved in marble. With ten hand-colored drawings by Parker. One of copies on Brentwood vellum all-rag paper, signed by the artist and author. The third book in a series of special limited editions published by the Museum of Modern Art.
Here the text of Moore's poems is reproduced in her hand, and the artist has hand-colored the line drawings. The copy is also inscribed by the poet. With six original colored etchings by Tamari. The text is written in a special nonsense language which is still closely enough related to French to allow the meaning to filter through. With eleven original colored wood engravings by Gischia. One of sixty copies on Auvergne Richard de Bas, of a total edition of copies, signed by the artist and author.
His interest in the theatre was already in evidence over twenty years ago, when he paid homage to Shakespeare in a series of illustrations for The Phoenix and the Turtle His style has since developed toward the solid colors and abstract shapes exhibited in these wood engravings for Lescure's text, which Strachan feels achieve " a kind of contrapuntal music that weds well with [his] poems. A typical example of a multi-artist project in the French livre d'artiste. Each artist is asked to provide an original graphic on a particular theme or common text. With two original colored etchings signed by Ernst, and twenty-five colored lithographs of original drawings pulled by Mourlot and approved for printing by the artist.
One of copies of a total edition of copies. The whimsical style of the lithographs in particular is reminiscent of his work for such earlier texts as Artaud's Galapagos, Les Iles du bout du monde Ernst has often illustrated his own surrealist texts with wit and originality. A hint of Ernst's attitude toward art may be seen in a recent interview: "The planet has been through so much, has suffered so much, that one must have a certain optimism in order to paint, to function. To my mind, Beckett is our truly great contemporary.
With twelve original lithographs and ten original woodcuts by Pozzatti.
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One of copies on Rives, signed by the artist. A rare example of a livre d'artiste published by an American university press. Pozzatti, one of the best contemporary American print-makers, has created a series of original illustrations which inevitably demand comparison with other major bestiaries of this century. On several occasions, Pozzatti has solved the traditional problem of the double-page spread illustration with true originality. With eighteen original lino-cuts by Erhardt. One of copies on handmade paper, signed by the artist. Size: 42 x This is the first livre d'artiste with Beckett's work produced in West Germany.
The tri-lingual edition is the work of the Manus Presse, perhaps the finest press in this field east of the Rhine. Erhardt was inspired to do these illustrations while attending Deryk Mendel's performance of the pantomimes; and he has dedicated these illustrations to him. With four original etchings by Giacometti. Ref: AF These remarkable etchings are among the last works Giacometti completed before his death in His work has long been particularly admired by French writers, including Jean Genet for whom Giacometti did the cover lithograph of the first edition of Le Balcon.
With twenty-two original linocuts and woodcuts, and one original mixed collage by Staritsky. The whimsical animal figures created on these pages are in fact much closer to traditional illustration than they at first appear, being carefully integrated with the text. The inclusion of one original collage by the artist allows the reader direct access to the source of inspiration for the graphics.
With eighteen original colored lithographs by Zadkine. Sculptors such as Giacometti, Henri Laurens, and Marino Marini have all contributed to major illustrated books. Zadkine is yet another powerful figure in twentieth-century sculpture who has shown a decided interest in the livre d'artiste. His colored lithographs illustrating Aveline's surrealist text are very much in the style of his studies for monumental sculpture.
He has also illustrated his own texts as well as those by such contemporary authors as Robert Ganzo. One of copies. Size Concrete poetry has deep roots in literary history, yet it is, by definition, dependent upon effects other than the purely literary. Since this poetry is often strongly visual, the design and printing of the poem acquire special weight, so that the resulting collaboration in this case with John Dearstyne is in many ways analogous to the process of creation itself. Mary Ellen Solt is internationally known, both for her own work and as an editor of concrete poetry.
With six original colored etchings by Arikha, each signed by the artist. Avigdor Arikha, an Israeli artist living in Paris, is a close friend of Beckett's and has illustrated several of his works including, in addition to those exhibited here, Stories and Texts for Nothing , Malone Dies , Happy Days , and Waiting for Godot. The colored etchings for L'Issue reveal the subtle and intuitive feeling with which Arikha approaches Beckett's work. With an original etching by Dufour. U73 B22 copy 1. Michel Butor, one of the best known contemporary French authors and considered a practitioner of the "new novel," has consistently published works in conjunction with important contemporary artists.
Although much critical attention has been given to Butor's work, this aspect has yet to be explored in depth. A second copy of this work, as issued with the original etching printed on blue silk for the binding, is also exhibited. With seven original etchings by Erhardt, each signed by the artist. One of forty-five copies on handmade paper. Size: 38 x These etchings are visual variations on the theme of Come and Go , reduced to geometric proportions.
The final line of the play, "I can feel the rings," is given its tactile counterpart by the blind relief impression of the three circles in the seventh etching. Werner Spies has written that "these illustrations arose in collaboration with the author; during their discussions, Beckett voiced criticism as well, and inspired alterations. With seven original etchings three in color by Papart.
Ribemont-Dessaignes's surrealist texts have been illustrated by Georges Braque and others.
This is the first edition of these poems. Max Papart is a well known contemporary French painter, who has contributed original collages to one of the books in the Lilly Library's Le Livre Unique series also exhibited. With three original colored etchings, each signed by Tanaka. One of copies, signed by the author.