"Pourquoi pas une seconde main": intermediality in Paul Eluard's Travail du peintre

Author(s)

  • Maaike Koffeman Université Radboud

DOI:

https://doi.org/10.18352/relief.949

Keywords:

Paul Éluard, Francis Poulenc, Pablo Picasso, adaptation, intermediality, surrealism

Abstract

Poet Paul Éluard and composer Francis Poulenc shared a great interest in modern painting, especially the work of Pablo Picasso. This article studies the way in which the friendship and reciprocal admiration between these three artists manifested themselves in intermedial works such as the poetry collection Voir. Poèmes Peintures Dessins (1948) and the song cycle Le Travail du peintre (1957). The creative interaction between painting, poetry and music is analysed in the context of the surrealist ideas formulated by Éluard in Donner à voir (1939).

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Author Biography

  • Maaike Koffeman, Université Radboud

    Maaike Koffeman enseigne la littérature française à l’Université Radboud de Nimègue. Elle a publié une thèse de doctorat sur la Nouvelle Revue française (2003). Aujourd’hui, ses recherches actuelles se focalisent principalement sur la réception de la culture et de la littérature françaises aux Pays-Bas.

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Published

2017-06-27

Issue

Vol. 11 No. 1 (2017): Text and Image

Section

I. Treasures of the Koopman Collection

License

Copyright (c) 2017 Maaike Koffeman

Creative Commons License

This work is licensed under a Creative Commons Attribution 4.0 International License.

All articles published in RELIEF appear in Open Access under the Creative Commons Attribution 4.0 International License (CC-BY 4.0). Under this licence, authors retain ownership of the copyright of their article, but they allow its unrestricted use, provided it is properly cited.

How to Cite

Koffeman, M. (2017) “‘Pourquoi pas une seconde main’: intermediality in Paul Eluard’s Travail du peintre”, RELIEF - REVUE ÉLECTRONIQUE DE LITTÉRATURE FRANÇAISE, 11(1), pp. 1–23. doi:10.18352/relief.949.