Roland Barthes

Jazz in Willisau

Cartazes de Niklaus Troxler, artista gráfico, professor e organizador do Festival de Jazz. Em alguns desenhos, a improvisação do jazz ganha um equivalente visual

 

cartaz de divulgação do concerto solo do pianista Cecil Taylor

Marian Zazeela

Saul Steinberg

William Saroyam

imagens de uma exposição dedicada a pinturas e desenhos feitos por escritores.

Xu Bing

"A Case Study of Transference"
Video Still of Installation

  http://www.xubing.com/

Hans Hartung

T51-9, 1951

T1956-9

1956. 180 x 137cm.
Antibes, Colection Anne-Eva Bergman.

Composition P1960-14

Pastel sobre papel 1960, signiert und datiert

 Graustufen, 11,1 x 15,7

 "1". Farbradierung auf Kupfer, 1953

50,5 x 65,8 cm

"24"
Radierung 1953
50,3 x 66 cm
Exemplar 25/100 sign. num.
Auflage ca. 100 Exemplare
Schmücking S. 53

Delacroix

Femmes d´Algier

No canto superior direito, uma inscrição em árabe transformou-se em um desenho, um arabesco, ou um rabisco.

Gesto caligráfico

Jackson Pollock

Robert Motherwell, Samurai

Tápies, China

Tápies, cercle roge

Tápies, cadira

Hans Hartung, composition 1949 L06

Henri Michaux, Lithographie, 1967

Na segunda metade do século XX, alguns artistas olharam para o Oriente em busca de um gesto expressivo, caligráfico. Jackson Pollock teve aulas de caligrafia em um mosteiro zen de New York.

Brion Gysin

Trecho do livro “Here to Go”, uma coleção de entrevistas com Gysin escrito por Terry Wilson.

I first became interested in calligraphy when I was being taught Japanese in the army, during the war … and in the Japanese language school had a number of Japanese instructors, and as I was a painter and interested in painting, and in paint brushes, and in ink, uh, I learned quite quickly to understand some of the depth, not just simply for the purpose of recording the language, but the philosophy behind the attack that the brush makes onto paper, so forth and so on, the running of the ink and all those rather more abstruse meanings of Oriental calligraphy… but from the pictorial point of view it didn’t satisfy me because it hangs off the page; as you know, if you see lines of Japanese writing it hangs like vines, pinned at the top of the page and sort of dangling down at different lengths across, and not to my mind at that time satisfactorily employing the Occidental picture space, which is essentially a page as a picture is a page, or even as an icon is essentially a page, and, uh, when I went to Morocco I was immediately interested in the movement of Arab writing which goes, as Japanese does, from right to left, instead of ours does, left to right… but I saw that combing the two, as if one took a page and wrote Japanese from top to bottom and Arabic across it from right to left, formed a sort of gridwork which covered and integrated the picture space…

Van Gogh

Van Gogh, Ameixeira em flor, a partir de uma xilogravura de Hiroshige.

O que teria levado Van Gogh a pintar uma xilogravura de Hiroshige? Ao fazê-lo, inventou desenhos, pois os falsos ideogramas copiados por ele não podem mais ser lidos por um japonês. O mesmo acontece em um quadro de Delacroix, Femmes d´Algier, em que a escrita árabe no quadro se torna indecifrável, mesmo para um leitor fluente em árabe.