Beckett samuel

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Samuel BECKETTBiblio.com

Le monde et le pantalon

198983344Paris: Les Editions de Minuit 1989. Fine. Les Editions de Minuit Paris 1989 10 x 18 cm broché First edition on ordinary paper. Signed autograph inscription from Samuel Beckett to his long-time friend Josette Hayden wife of the cubist then realist painter of Polish origin Henri Hayden. The numerous exchanges between the latter and Beckett inspired the dialogues of Estragon and Vladimir in Waiting for Godot. The Hayden couple spent twenty years with the writer settled ""in his small pavilion in Ussy near La Ferté-sous-Jouarre this lair this cave where solitary he went to seek the root of words in the abysses of life so close to death. It is there that he forged the greater part of his masterful work."" Christian de Bartillat Deux amis Beckett et Hayden. Beckett had met the Haydens in 1943 when all three had taken refuge in Roussillon escaping the Gestapo. Their shared passion for chess and painting brought them together: ""There are wonderful days. Here and there a dinner with the Haydens. Played chess once. Looking crucified for twenty moves before making an error that resulted in a draw."" Bartillat p. 95. Beckett helped make Hayden's work known after the war notably by helping to organize exhibitions of his works in Victor Waddington's London gallery. After the immense success of Waiting for Godot Beckett bought a country house in 1953 in Ussy-sur-Marne in the hamlet of Molien. There he found the calm and serenity conducive to writing and saw the Haydens almost daily who lived not far away in Reuil-en-Brie. It was in the heart of this ""land neither too green nor too flat"" Beckett wrote to a friend in 1954 that this fraternal and creative friendship flourished punctuated by games of chess. After Henri Hayden's death in 1970 which greatly affected the writer Josette remained a central figure in Beckett's life and work. She helped him record his ideas for future works - several of the writer's notebooks contain passages written in her hand. She also contributed to the writer's biography by sharing her intimate memories and anecdotes published in Deux amis Beckett et Hayden by Christian de Bartillat. Exceptional inscription to a close friend who spent time with Beckett for nearly half a century. Josette Hayden was one of the rare intimates of his reclusive life on the banks of the Marne contributed to the genesis of several of his writings and worked to preserve his memory. Beckett's correspondence addressed to the Hayden couple is preserved at Trinity College Dublin. Les Editions de Minuit unknown

Samuel BECKETT - (inscribed to Geer van VELDE)Biblio.com

Assez - Exemplaire du peintre Geer Van Velde

196651863Paris: Les Editions de Minuit 1966. Fine. Les Editions de Minuit Paris 1966 14.50 x 19.50 cm broché First edition. One of 100 deluxe advance copies on B.F.K. de Rives only deluxe copies along with 512 others on B.F.K. de Rives. Precious copy inscribed and dated April 1966 by Beckett to his friend the painter Geer Van Velde and his wife Lise. Nice copy. What to say of the sliding planes the shimmering contours the cut-out figures in the fog the balance that any little thing can break breaking and re-forming themselves under our very eyes How to talk about the colors that breathe and pant Of the swarming stasis Of this world without weight without force without shadow Here everything moves swims fells comes back falls apart re-forms. Everything stops non-stop. One would say it's the revolt of the internal molecules of a stone a split second before its disintegration. That is literature The van Veldes' Art or the World and the Trousers in Cahiers d'Art n°11-12 Paris 1945. Beckett here is not talking despite how it may appear about his literary oeuvre but about the paintings of Geer Van Velde going on to add a few lines later Bram Van Velde paints distance. Geer Van Velde paints succession. This elegy published on the occasion of the double exhibition of the Van Veldes Geer at Maeght's and Bram at the Galerie Mai is the first important text on these painters more or less unknown to the public at the time: We've only just started spouting nonsense about the Van Velde brothers and I'm the first. It's an honor. This is also the first critical text written directly in French by a young Irish writer who had not as yet published anything in France. Thus the first and most important of Beckett's writings on art composed at the dawn of his literary career establishes right from the start a fundamental relationship between his developing work and his friends' art: Thus this text has often been read in a hollow or in the mirror as one of the rare designations of Beckett's poetry to come by the man himself a sort of anamorphic program of writing Un pantalon cousu de fil blanc : Beckett et l'épreuve critique by Pierre Vilar. A real statement of dramaturgical intent this fundamental text whose introspective value Beckett lays out from the introduction on one does nothing but tell stories with words ushers in the writer's most fruitful creative period. In essence like Apollinaire and Cendrars Beckett draws from the artistic problems of his contemporaries the catalyst of his own future writing through the deepest questioning of narrative figurative or poetical presuppositions Pascale Casanova in Beckett l'abstracteur. The major influence of modern painting on the narrative structure or destructuring of Beckett's drama and novels would be pointed out and examined by a number of thinkers among them Gilles Deleuze Julia Kristeva and Maurice Blanchot. It was in fact with the art of the Van Veldes first Geer then Bram that Beckett began to formalize this desire to translate the pictorial question into dramaturgical terms. Thus it was that he rejected Nicolas de Staël's set design for Godot since: the set must come out of the text without adding anything to it. As for the visual comfort of the audience you can imagine how much I care. Do you really think you can listen with the backdrop of Bram's set or see anything other than him Letter to Georges Duthuit 1952. When he met Geer in 1937 Beckett was going through a major existential crisis and had just been reworking his first novel Murphy which had been rejected by a great many publishers. He was lost in alcohol leaving Ireland and moving once and for all to Paris Le Pictural dans l'uvre de Beckett Lassaad Jamoussi. He returned from a long artistic journey in Germany where he was marked by classical works as well as contemporary art it was during this journey that he discovered Caspar David Friedrich's Two Men Contemplating th Les Editions de Minuit unknown

Rare Books Le Feu Follet - Edition-Originale.com · France1 725,00 €

Samuel BECKETT - (inscribed to Geer van VELDE)Biblio.com

Bing - Exemplaire de Geer Van Velde Bing Geer Van Veldes Copy

196651867Paris: Les Editions de Minuit 1966. Fine. Les Editions de Minuit Paris 1966 14.50 x 19.50 cm broché First edition one of 100 hors commerce numbered copies on BFK de Rives paper the only grand papier deluxe copies with 662 other copies on BFK de Rives paper. Precious copy inscribed and dated October 1966 by Beckett to his friend the painter Geer Van Velde and his wife Lise. Nice copy. What to say of the sliding planes the shimmering contours the cut-out figures in the fog the balance that any little thing can break breaking and re-forming themselves under our very eyes How to talk about the colors that breathe and pant Of the swarming stasis Of this world without weight without force without shadow Here everything moves swims fells comes back falls apart re-forms. Everything stops non-stop. One would say it's the revolt of the internal molecules of a stone a split second before its disintegration. That is literature The Van Veldes' Art or the World and the Trousers in Cahiers d'Art n°11-12 Paris 1945. Beckett here is not talking despite how it may appear about his literary oeuvre but about the paintings of Geer Van Velde going on to add a few lines later Bram Van Velde paints distance. Geer Van Velde paints succession. This elegy published on the occasion of the double exhibition of the Van Veldes Geer at Maeght's and Bram at the Galerie Mai is the first important text on these painters more or less unknown to the public at the time: We've only just started spouting nonsense about the Van Velde brothers and I'm the first. It's an honor. This is also the first critical text written directly in French by a young Irish writer who had not as yet published anything in France. Thus the first and most important of Beckett's writings on art composed at the dawn of his literary career establishes right from the start a fundamental relationship between his developing work and his friends' art: Thus this text has often been read in a hollow or in the mirror as one of the rare designations of Beckett's poetry to come by the man himself a sort of anamorphic program of writing Un pantalon cousu de fil blanc : Beckett et l'épreuve critique by Pierre Vilar. A real statement of dramaturgical intent this fundamental text whose introspective value Beckett lays out from the introduction on one does nothing but tell stories with words ushers in the writer's most fruitful creative period. In essence like Apollinaire and Cendrars Beckett draws from the artistic problems of his contemporaries the catalyst of his own future writing through the deepest questioning of narrative figurative or poetical presuppositions Pascale Casanova in Beckett l'abstracteur. The major influence of modern painting on the narrative structure or destructuring of Beckett's drama and novels would be pointed out and examined by a number of thinkers among them Gilles Deleuze Julia Kristeva and Maurice Blanchot. It was in fact with the art of the Van Veldes first Geer then Bram that Beckett began to formalize this desire to translate the pictorial question into dramaturgical terms. Thus it was that he rejected Nicolas de Staël's set design for Godot since: the set must come out of the text without adding anything to it. As for the visual comfort of the audience you can imagine how much I care. Do you really think you can listen with the backdrop of Bram's set or see anything other than him Letter to Georges Duthuit 1952. When he met Geer in 1937 Beckett was going through a major existential crisis and had just been reworking his first novel Murphy which had been rejected by a great many publishers. He was lost in alcohol leaving Ireland and moving once and for all to Paris Le Pictural dans l'uvre de Beckett Lassaad Jamoussi. He returned from a long artistic journey in Germany where he was marked by classical works as well as contemporary art it was during this journey that he discovered Caspar David Fr Les Editions de Minuit unknown

Rare Books Le Feu Follet - Edition-Originale.com · France1 725,00 €