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Guillaume Apollinaire[lower-alpha 1] (French: [ɡijom apɔlinɛʁ]; 26 August 1880 – 9 November 1918) was a French poet, playwright, short story writer, novelist, and art critic of Polish-Belarusian descent.

For other uses, see Apollinaire (disambiguation).

Guillaume Apollinaire
Photograph of Guillaume Apollinaire in spring 1916 after a shrapnel wound to his temple
BornWilhelm Albert Włodzimierz Apolinary Kostrowicki
(1880-08-26)26 August 1880
Rome, Italy
Died9 November 1918(1918-11-09) (aged 38)
Paris, France
Occupation
  • Poet
  • writer
  • art critic
Literary movementCubism, Surrealism, Orphism
Signature
Kostrowicki family's coat-of-arms
Kostrowicki family's coat-of-arms

Apollinaire is considered one of the foremost poets of the early 20th century, as well as one of the most impassioned defenders of Cubism and a forefather of Surrealism. He is credited with coining the term "Cubism"[1] in 1911 to describe the emerging art movement, the term Orphism in 1912, and the term "Surrealism" in 1917 to describe the works of Erik Satie. He wrote poems without punctuation attempting to be resolutely modern in both form and subject.[2] Apollinaire wrote one of the earliest Surrealist literary works, the play The Breasts of Tiresias (1917), which became the basis for Francis Poulenc's 1947 opera Les mamelles de Tirésias.

Influenced by Symbolist poetry in his youth, he was admired during his lifetime by the young poets who later formed the nucleus of the Surrealist group (Breton, Aragon, Soupault). He revealed very early on an originality that freed him from any school of influence and made him one of the precursors of the literary revolution of the first half of the 20th century. His art is not based on any theory, but on a simple principle: the act of creating must come from the imagination, from intuition, because it must be as close as possible to life, to nature, to the environment, and to the human being.

Apollinaire was also active as a journalist and art critic for Le Matin, L'Intransigeant, L'Esprit nouveau, Mercure de France, and Paris Journal. In 1912 Apollinaire cofounded Les Soirées de Paris, an artistic and literary magazine.

Two years after being wounded in World War I, Apollinaire died during the Spanish flu pandemic of 1918 and was recognized as "Fallen for France" (Mort pour la France) because of his commitment during the war.[3]


Life



Family and early life


Apollinaire (left) and André Rouveyre in 1914
Apollinaire, 1902, Cologne
Apollinaire, 1902, Cologne

Wilhelm Albert Włodzimierz Apolinary Kostrowicki was born in Rome, Italy, and was raised speaking French, Italian, and Polish.[4] He emigrated to France in his late teens and adopted the name Guillaume Apollinaire. His mother, born Angelika Kostrowicka, was a Polish-Lithuanian noblewoman born near Navahrudak, Grodno Governorate (former Grand Duchy of Lithuania, present-day Belarus). His maternal grandfather participated in the 1863 uprising against occupying Russia and had to emigrate when the uprising failed.[5] Apollinaire's father is unknown but may have been Francesco Costantino Camillo Flugi d'Aspermont (born 1835), a Graubünden aristocrat who disappeared early from Apollinaire's life. Francesco Flugi von Aspermont was a nephew of Conradin Flugi d'Aspermont (1787–1874), a poet who wrote in ladin putèr (an official language dialect of Switzerland spoken in Engiadina ota), and perhaps also of the Minnesänger Oswald von Wolkenstein (born c. 1377, died 2 August 1445; see Les ancêtres Grisons du poète Guillaume Apollinaire at Généanet).


Paris


Apollinaire eventually moved from Rome to Paris in 1900[6] and became one of the most popular members of the artistic community of Paris (both in Montmartre and Montparnasse). His friends and collaborators in that period included Pablo Picasso, Henri Rousseau, Gertrude Stein, Max Jacob, André Salmon, André Breton, André Derain, Faik Konitza, Blaise Cendrars, Giuseppe Ungaretti, Pierre Reverdy, Alexandra Exter, Jean Cocteau, Erik Satie, Ossip Zadkine, Marc Chagall, Marcel Duchamp and Jean Metzinger. He became romantically involved with Marie Laurencin, who is often identified as his muse. While there, he dabbled in anarchism and spoke out as a Dreyfusard in defense of Dreyfus's innocence.[7]

Metzinger painted the first Cubist portrait of Apollinaire. In his Vie anecdotique (16 October 1911), the poet proudly writes: "I am honoured to be the first model of a Cubist painter, Jean Metzinger, for a portrait exhibited in 1910 at the Salon des Indépendants." It was not only the first Cubist portrait, according to Apollinaire, but it was also the first great portrait of the poet exhibited in public, prior to others by Louis Marcoussis, Amedeo Modigliani, Mikhail Larionov and Picasso.[8]

La Joconde est Retrouvée (The Mona Lisa is Found), Le Petit Parisien, No. 13559, 13 December 1913
"La Joconde est Retrouvée" (The Mona Lisa is Found), Le Petit Parisien, No. 13559, 13 December 1913

In 1911 he joined the Puteaux Group, a branch of the Cubist movement soon to be known as the Section d'Or. The opening address of the 1912 Salon de la Section d'Or—the most important pre-World War I Cubist exhibition—was given by Apollinaire.[9][10]

On 7 September 1911, police arrested and jailed him on suspicion of aiding and abetting the theft of the Mona Lisa and a number of Egyptian statuettes from the Louvre,[4][11] but released him a week later. The theft of the statues had been committed in 1907 by a former secretary of Apollinaire, Honoré Joseph Géry Pieret, who had recently returned one of the stolen statues to the French newspaper the Paris-Journal.[12] Apollinaire implicated his friend Picasso, who had bought Iberian statues from Pieret, and who was also brought in for questioning in the theft of the Mona Lisa, but he was also exonerated.[13][12] The theft of the Mona Lisa was perpetrated by Vincenzo Peruggia, an Italian house painter who acted alone and was only caught two years later when he tried to sell the painting in Florence.


Cubism


Jean Metzinger, 1911, Étude pour le portrait de Guillaume Apollinaire, graphite on paper, 48 × 31.2 cm, Musée National d'Art Moderne, Centre Georges Pompidou, Paris
Jean Metzinger, 1911, Étude pour le portrait de Guillaume Apollinaire, graphite on paper, 48 × 31.2 cm, Musée National d'Art Moderne, Centre Georges Pompidou, Paris

Apollinaire wrote the preface for the first Cubist exposition outside of Paris; VIII Salon des Indépendants, Brussels, 1911.[14] In an open-handed preface to the catalogue of the Brussels Indépendants show, Apollinaire stated that these 'new painters' accepted the name of Cubists which has been given to them. He described Cubism as a new manifestation and high art [manifestation nouvelle et très élevée de l'art], not a system that constrains talent [non-point un système contraignant les talents], and the differences which characterize not only the talents but even the styles of these artists are an obvious proof of this.[15][16] The artists involved with this new movement, according to Apollinaire, included Pablo Picasso, Georges Braque, Jean Metzinger, Albert Gleizes, Robert Delaunay, Fernand Léger, and Henri Le Fauconnier.[17] By 1912 others had joined the Cubists: Jacques Villon, Marcel Duchamp, Raymond Duchamp-Villon, Francis Picabia, Juan Gris, and Roger de La Fresnaye, among them.[15][18][19][20]


Orphism


The term Orphism was coined by Apollinaire at the Salon de la Section d'Or in 1912, referring to the works of Robert Delaunay and František Kupka. During his lecture at the Section d'Or exhibit Apollinaire presented three of Kupka's abstract works as perfect examples of pure painting, as anti-figurative as music.[19]

In Les Peintres Cubistes, Méditations Esthétiques (1913) Apollinaire described Orphism as "the art of painting new totalities with elements that the artist does not take from visual reality, but creates entirely by himself. [...] An Orphic painter's works should convey an untroubled aesthetic pleasure, but at the same time a meaningful structure and sublime significance. According to Apollinaire Orphism represented a move towards a completely new art-form, much as music was to literature.[21]


Surrealism


The term Surrealism was first used by Apollinaire concerning the ballet Parade in 1917. The poet Arthur Rimbaud wanted to be a visionary, to perceive the hidden side of things within the realm of another reality. In continuity with Rimbaud, Apollinaire went in search of a hidden and mysterious reality. The term "surrealism" appeared for the first time in March 1917 (Chronologie de Dada et du surréalisme, 1917) in a letter by Apollinaire to Paul Dermée: "All things considered, I think in fact it is better to adopt surrealism than supernaturalism, which I first used" [Tout bien examiné, je crois en effet qu'il vaut mieux adopter surréalisme que surnaturalisme que j'avais d'abord employé].[22]

He described Parade as "a kind of surrealism" (une sorte de surréalisme) when he wrote the program note the following week, thus coining the word three years before Surrealism emerged as an art movement in Paris.[23]


World War I and death


Apollinaire served as an infantry officer in World War I and, in 1916, received a serious shrapnel wound to the temple, from which he would never fully recover.[6] He wrote Les Mamelles de Tirésias while recovering from this wound. During this period he coined the word "Surrealism" in the programme notes for Jean Cocteau's and Erik Satie's ballet Parade, first performed on 18 May 1917. He also published an artistic manifesto, L'Esprit nouveau et les poètes. Apollinaire's status as a literary critic is most famous and influential in his recognition of the Marquis de Sade, whose works were for a long time obscure [citation needed], yet arising in popularity as an influence upon the Dada and Surrealist art movements going on in Montparnasse at the beginning of the twentieth century as, "The freest spirit that ever existed." [citation needed]

The war-weakened Apollinaire died at the age of 38 on 9 November 1918 of influenza during the Spanish flu pandemic of 1918 ravaging Europe at the time, two years after being wounded in World War I.[6] Due to his military service for the duration of the war, he was declared "Dead for France" (Mort pour la France) by the French government.[3] He was interred in the Père Lachaise Cemetery, Paris.


Works


In 1900 he wrote his first novel Mirely, ou le petit trou pas cher (pornographic), which was eventually lost.[6] Apollinaire's first collection of poetry was L'enchanteur pourrissant (1909), but Alcools (1913) established his reputation. The poems, influenced in part by the Symbolists, juxtapose the old and the new, combining traditional poetic forms with modern imagery. In 1913, Apollinaire published the essay Les Peintres Cubistes, Méditations Esthétiques on the Cubist painters, a movement which he helped to define. He also coined the term orphism to describe a tendency towards absolute abstraction in the paintings of Robert Delaunay and others.

In 1907 Apollinaire published the well-known erotic novel, The Eleven Thousand Rods (Les Onze Mille Verges).[24][25] Officially banned in France until 1970, various printings of it circulated widely for many years. Apollinaire never publicly acknowledged authorship of the novel. Another erotic novel attributed to him was The Exploits of a Young Don Juan (Les exploits d'un jeune Don Juan), in which the 15-year-old hero fathers three children with various members of his entourage, including his aunt.[26][27] Apollinaire's gift to Picasso of the original 1907 manuscript was one of the artist's most prized possessions.[28] The book was made into a movie in 1987.

Shortly after his death, Mercure de France published Calligrammes, a collection of his concrete poetry (poetry in which typography and layout adds to the overall effect), and more orthodox, though still modernist poems informed by Apollinaire's experiences in the First World War and in which he often used the technique of automatic writing.

In his youth Apollinaire lived for a short while in Belgium, mastering the Walloon dialect sufficiently to write poetry, some of which has survived.


Poetry



Novels



Short story collections



Plays



Articles



Translations into English





See also



Notes


  1. His birth name in Polish is Wilhelm-Albert-Włodzimierz-Aleksander-Apolinary Kostrowicki (Belarusian: Гіём-Альберт-Уладзімір-Аляксандр-Апалінарый Кастравіцкі) of the Wąż coat of arms.

References and sources


References
  1. Daniel Robbins, 1964, Albert Gleizes 1881 – 1953, A Retrospective Exhibition, Published by The Solomon R. Guggenheim Foundation, New York, in collaboration with Musée National d'Art Moderne, Paris, Museum am Ostwall, Dortmund
  2. Judge, Harry George; Toyne, Anthony, eds. (1985–1993). Oxford illustrated encyclopedia. Oxford University Press. p. 18. ISBN 0-19-869129-7. OCLC 11814265.
  3. Catherine Moore, Mark Moore, Guillaume Apollinaire official website, Biographie: Chronologie, Western Illinois University
  4. "Газетные "старости" (Архив)". Starosti.ru. 9 January 1907. Retrieved 6 December 2011.
  5. "How Apollinaire's Polish Roots Impacted His Life & Work". Culture.pl. Retrieved 4 March 2022.
  6. John Baxter (10 February 2009). Carnal Knowledge: Baxter's Concise Encyclopedia of Modern Sex. HarperCollins. p. 13. ISBN 978-0-06-087434-6. Retrieved 24 December 2011.
  7. Claude Schumacher, Alfred Jarry and Guillaume Apollinaire, Modern Dramatists, Macmillan International Higher Education, 1984, pp. 4, 14, 23, 148, 168, ISBN 1349173282
  8. Jean Metzinger, 1910, Portrait of Guillaume Apollinaire, Christie's Paris, 2007.
  9. La Section d'Or, Numéro spécial, 9 Octobre 1912.
  10. The History and Chronology of Cubism Archived 14 March 2013 at the Wayback Machine, p. 5.
  11. "Un homme de lettres connu est arrêté comme recéleur", Le Petit Parisien, 9 September 1911 (in French).
  12. Krauss, Rosalind (2016). "1911". In Hal Foster; Rosalind E. Krauss; Yve-Alain Bois; B. H. D. Buchloh; David Joselit (eds.). Art since 1900: modernism, antimodernism, postmodernism (Third ed.). London: Thames & Hudson. p. 118. ISBN 978-0-500-23953-7. OCLC 958112079.
  13. Richard Lacayo, "Art's Great Whodunit: The Mona Lisa Theft of 1911", Time, 27 April 2009.
  14. Préface, in Catalogue du 8e Salon annuel du Cercle d'art Les Indépendants, Musée moderne de Bruxelles, 10 June – 3 July 1911.
  15. Douglas Cooper, 1971, Douglas Cooper, The Cubist Epoch, Los Angeles County Museum of Art, Metropolitan Museum of Art, New York, N.Y., 1970, p. 97
  16. Françoise Roberts-Jones, Chronique d'un musée: Musée royal des beaux-arts de Belgique, Bruxelles.
  17. Daniel Robbins, 1985, Jean Metzinger in Retrospect, Jean Metzinger: At the Center of Cubism, University of Iowa Museum of Art, Iowa City, J. Paul Getty Trust, University of Washington Press, pp. 9–23
  18. Apollinaire, Guillaume (7 August 1913). Les peintres cubistes. Première série. Tous les arts. Eugène Figuière et cie, éditeurs – via library.metmuseum.org Library Catalog.
  19. Guillaume Apollinaire, Les Peintres Cubistes (The Cubist Painters) published in 1913, Peter Read (Translator), University of California Press, 25 October 2004
  20. Herschel Browning Chipp, Peter Selz, Theories of Modern Art: A Source Book by Artists and Critics, University of California Press, 1968, pp. 221–248, ISBN 0-520-01450-2
  21. Hajo Düchting, Orphism, MoMA, From Grove Art Online, 2009 Oxford University Press.
  22. Jean-Paul Clébert, Dictionnaire du surréalisme, A.T.P. & Le Seuil, Chamalières, p. 17, 1996.
  23. Hargrove, Nancy (1998). "The Great Parade: Cocteau, Picasso, Satie, Massine, Diaghilev—and T.S. Eliot". Journal for the Interdisciplinary Study of Literature 31 (1)
  24. Patrick J. Kearney, A History of Erotic Literature, 1982, pp. 163–164
  25. Karín Lesnik-Oberstein, The last taboo: women and body hair, Manchester University Press, 2006, ISBN 0-7190-7500-9, p.94
  26. Neil Cornwell, The Absurd in Literature, Manchester University Press, 2006, ISBN 0-7190-7410-X, pp.86–87
  27. Roger Shattuck, The Banquet Years: the arts in France, 1885–1918: Alfred Jarry, Henri Rousseau, Erik Satie, Guillaume Apollinaire, Doubleday, 1961, p. 268.
  28. Golding, John (1994). Visions of the Modern. p. 109. ISBN 0520087925.
  29. Action: Cahiers Individualistes De Philosophie Et D’art, October 1920, Blue Mountain Project, Princeton University
  30. Apollinaire, Guillaume (1965). The Heresiarch and Co. Internet Archive. Garden City, New York, Doubleday.
  31. Apollinaire, Guillaume (1923). The poet assassinated / y Guillaume Apollinaire ; translated from the French with a biographical notice and notes by Matthew Josephson. Getty Research Institute. New York : Broom Pub.
  32. Apollinaire, Guillaume (1985). The poet assassinated : and other stories. Internet Archive. Manchester : Carcanet. ISBN 978-0-85635-548-6.
  33. Apollinaire, Guillaume (1967). The Wandering Jew, and other stories;. Internet Archive. London, Hart-Davis.
  34. Apollinaire, Guillaume (1980). Calligrammes : poems of peace and war (1913-1916). Internet Archive. Berkeley : University of California Press. ISBN 978-0-520-01968-3.
  35. Lehman, David (Spring 2013). "Apollinaire's "Zone"". Virginia Quarterly Review.
  36. trilobiet, acdhirr for. "Marjo Tal". www.forbiddenmusicregained.org. Retrieved 4 September 2021.
Sources


Wikiquote has quotations related to Guillaume Apollinaire.
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Guillaume Apollinaire
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На других языках

- [en] Guillaume Apollinaire

[es] Guillaume Apollinaire

Guillaume Apollinaire (pronunciación en francés: /ɡijom apɔlinɛʁ/, –de nombre completo Wilhelm Albert Włodzimierz Apolinary de Kostrowicki–, Roma, 26 de agosto de 1880-París, 9 de noviembre de 1918) o conocido simplemente por Apollinaire, fue un poeta, dramaturgo, teórico y crítico de arte naturalizado francés de ascendencia bielorruso-polaca nacido en Italia; fue el creador del caligrama y dio nombre al «surrealismo».

[fr] Guillaume Apollinaire

Guillaume Albert Vladimir Alexandre Apollinaire de Kostrowitzky[1], dit Guillaume Apollinaire, est un poète et écrivain français, critique et théoricien d'art qui serait[Note 1] né sujet polonais de l'Empire russe, le 26 août 1880 à Rome. Il meurt à Paris le 9 novembre 1918 de la grippe espagnole, mais est déclaré mort pour la France[2] en raison de son engagement durant la guerre.

[it] Guillaume Apollinaire

Guillaume Apollinaire (AFI: [gi'jom apɔli'nɛʁ]), pseudonimo di Guglielmo Alberto Wladimiro Alessandro Apollinare de Kostrowitzky[1] (Roma, 26 agosto 1880 – Parigi, 9 novembre 1918) è stato un poeta, scrittore, critico d'arte e drammaturgo francese.

[ru] Гийом Аполлинер

Гийо́м Аполлине́р (фр. Guillaume Apollinaire), настоящее имя — Вильгельм Альберт Владимир Александр Апполинарий де Вонж-Костровицкий (польск. Wilhelm Albert Vladimir Apollinaris de Wąż-Kostrowicki; 26 августа 1880, Рим — 9 ноября 1918, Париж) — французский писатель, поэт, литературный и художественный критик, журналист, один из наиболее влиятельных деятелей европейского авангарда начала XX века.


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