First edition of this early essay by French painter and later experimental filmmaker Robert Lapoujade. Illustrated with eleven photographs by Alain Resnais, made during the formative period in which the future director of Hiroshima mon amour and Last Year at Marienbad was closely engaged with the visual arts. Small 8vo (5.25 × 7.25 inches), dark blue typographical wrappers, 70 pages of text followed by 8 pages of black-and-white photographs. Published in 1951 by Boiteux de Paris as Volume I of “Ecrits de peintres.” Text in French.
Resnais's photographs—details of the body, found objects, landscape and deteriorated surfaces—function as a visual counterpoint to Lapoujade's meditation on painting and perception. An uncommon collaboration linking postwar French painting, photography and experimental cinema.
Light rubbing and bumping to extremities, text stock evenly tanned, photographic section brighter, binding sound.
First edition of this early essay by French painter and later experimental filmmaker Robert Lapoujade. Illustrated with eleven photographs by Alain Resnais, made during the formative period in which the future director of Hiroshima mon amour and Last Year at Marienbad was closely engaged with the visual arts. Small 8vo (5.25 × 7.25 inches), dark blue typographical wrappers, 70 pages of text followed by 8 pages of black-and-white photographs. Published in 1951 by Boiteux de Paris as Volume I of “Ecrits de peintres.” Text in French.
Resnais's photographs—details of the body, found objects, landscape and deteriorated surfaces—function as a visual counterpoint to Lapoujade's meditation on painting and perception. An uncommon collaboration linking postwar French painting, photography and experimental cinema.
Light rubbing and bumping to extremities, text stock evenly tanned, photographic section brighter, binding sound.
