Description
Autograph manuscript, 963 pages (lined or squared paper - some pages being unevenly filled, many times reduced to a few lines), mostly 8,25 x 10,5 inch, [ca. 1961], in French, important autograph manuscript on Tintoretto - this manuscript corresponds to the second version of the work that Sartre wanted to devote to the Venetian painter, and which remained unfinished, written in blue or black ink, with numerous amendments, and corrections - one can follow here closely the process of development of the reflexion and the writing, mostly with very mild signs of age wear, a few pages with frayed edges, browning, creasing, or small tears - overall in fine condition. Bibliography: Michel Sicard, "Approaches to Tintoretto", 2005; Provenance: Michel Sicard.
In parts:
"Quand il nous présente ses doges, ses dignitaires, le Tintoret nous ennuie. Il faut dire à sa décharge que ces patriciens ne s’amusaient guère et que personne ne les trouvait amusants. Mais nous avons nos idées faites : il faut que l’artiste nous divertisse avec l’ennui des autres ; peindre [un portrait, c’est démasquer le modèle. Nous n’ignorons pas que la République Sérénissime] // vieille chair, l’ambiguité d’un sourire trop serré, une insaisissable amertume, de lancer quelquefois une œillade à la postérité, [en un mot, de songer] // Quant à l’humour, il en est parfaitement dépourvu. Il a peint son doge avec un certain degré de conscience professionnelle qu’on a fixé d’avance en débattant du prix : voici [le bonnet, le manteau pourpre, la rangée d’hermine] [...] On ira de la substance et de sa texture, de son grain (couleur) à son essence (pesanteur) celle-ci nous montrera la dissolution des actes en gestes. Elle se dissoudra à son tour dans le temps objectif et nous passerons de l’instantané des hommes (gestes) aux durées complexes des choses (absorption du temps pratique par l’objet) lesquelles durées nous entraînent jusqu’aux force infinies de l’espace. Donc grain → Pesanteur → geste → arrêt du mvt humain par le temps → éclosion des durées spatiales → espace, c’est-à-dire extériorité. Les forces sont extérieures à l’homme. Expansion de la pesanteur. Un homme dans un champ de gravitation. L’espace comme pure tension d’extériorité engendre du coup la matière et la reprend la dissout en lumière. Dernier pas : lumière. [...] met en place les différents tableaux qu’il compte étudier : d’abord le Saint Marc délivrant un esclave, puis le Saint Georges terrassant le dragon (et sa comparaison avec l’œuvre de Carpaccio), puis la Crucifixion. À ce parcours correspondent des thèmes : le miracle, la pesanteur, le geste, le temps, l’espace (extériorité), la lumière [...] Sujet imposé : les mécréants projettent de torturer un esclave chrétien, le Ciel s’émeut. Saint Marc pique une tête dans l’éther, coule à pic, et va briser, à cent mille brasses des étoiles, les instruments dans les mains des bourreaux ; montrer la stupéfaction des témoins. Le nu sera masculin, la foule enturbannée, le Saint ad libitum ; nombre des personnages : entre vingt cinq et trente, dimensions requises : un mètre soixante trois sur deux mètres quinze. Le Tintoret entre en loge, se met au travail, suit à la lettre ces prescriptions, produit un monstre scandaleux [...]"
Description with translated excerpts:
Sartre published a first chapter, under the title `Le Séquestré de Venise`, in November 1957 in Les Temps modernes, presented as a "fragment of a study on Tintoretto, to be published by Gallimard", collected in 1964 in Situations, IV (new edition in 2018 in Situations, V); then another fragment, Saint Georges et le dragon, in L'Arc in 1966, collected in 1972 in Situations, IX. Other fragments will appear posthumously, notably by Michel Sicard, including Saint Marc et son double of the present manuscript, in the review Obliques in 1981. After the first version of 1957, Sartre undertook a second version of his text on Tintoret, in Antibes in 1961, according to Simone de Beauvoir: "Sartre took refuge in work, with so much frenzy that he did not control it any more: he wrote a second version of his Tintoret without having taken time to read again the first one". It is to this 1961 version that the present manuscript corresponds. It has been paginated in green ink by Simone de Beauvoir, with errors (ff. 767- 768 and 946 do not exist, without lack of text; and there are two ff. bis: 754 and 848).
After the existential and political Tintoretto of 1957, Sartre here further studies his painting. After the title The Sequestered of Venice inscribed in the center of the introductory leaflet, the first four leaves present a fragmentary text, remained unpublished:
"When he presents us his doges, his dignitaries, Tintoretto annoys us. It must be said in his defense that these patricians did not have much fun and that nobody found them amusing. But we have our own ideas: the artist must entertain us with the boredom of others; to paint [a portrait is to unmask the model. We are not unaware that the Serenissima Republic] // old flesh, the ambiguity of a too tight smile, an elusive bitterness, to throw sometimes a glance to the posterity, [in a word, to think] // As for the humor, it is perfectly devoid of it. He painted his doge with a certain degree of professional conscience that was fixed in advance by debating the price: here is [the cap, the purple coat, the row of ermine]". P. 5 is entitled Introduction: "One will go from the substance and its texture, from its grain (color) to its essence (gravity) this one will show us the dissolution of the acts in gestures. It will dissolve in its turn into objective time and we will pass from the instantaneous of men (gestures) to the complex durations of things (absorption of practical time by the object) which durations draw us to the infinite forces of space. So grain → gravity → gesture → stopping of human mvt by time → hatching of spatial durations → space, i.e. exteriority. Forces are external to man. Expansion of gravity. A man in a gravitational field. Space as pure tension of exteriority engenders matter at once and takes it back dissolves it into light. Last step: light." On p. 6 and 7, Sartre has traced an overall plan of his work, where he "sets up the different paintings he intends to study: first the Saint Mark delivering a slave, then the Saint George slaying the dragon (and its comparison with the work of Carpaccio), then the Crucifixion. To this path correspond themes: the miracle, gravity, gesture, time, space (exteriority), light" (M. Sicard). Then comes the text entitled Saint Mark and the double gift, with the subtitle "I. The useless precaution". The beginning shows the very personal tone of Sartre in this writing on art: "Imposed subject: the miscreants plan to torture a Christian slave, the Sky is moved. Saint Mark pricks a head in the ether, sinks steeply, and goes to break, to hundred thousand fathoms of stars, the instruments in the hands of the executioners; to show the amazement of the witnesses. The nude will be male, the crowd turbaned, the Saint ad libitum; number of characters: between twenty five and thirty, required dimensions: one meter sixty three on two meters fifteen. Tintoretto enters the lodge, sets to work, follows these prescriptions to the letter, and produces a scandalous monster [...]"
Plus d'informations sur la personne
Profession:
(1905-1980) French philosopher, playwright, novelist & political activist - one of the key figures in the philosophy of existentialism and phenomenology.
Year of Birth: 1905
Jean-Paul Sartre was a French philosopher, writer, and political activist. He is considered one of the most influential figures in 20th century philosophy, and is renowned for his works on existentialism and Marxism. He was born in Paris in 1905 to a well-off family, and studied philosophy at the renowned École Normale Supérieure. After graduating in 1929, he taught philosophy at various universities in France and wrote extensively on a variety of topics. In 1940, he was captured by the Germans during World War II and spent nine months in a Nazi prison camp. After the war, he became a prominent figure in the Parisian intellectual scene and a leading figure in the Existentialist movement. He also wrote several plays and novels, including the famous play No Exit and the novel Nausea.
Sartre's philosophical works focused on the concept of existentialism, which focuses on the idea that humans are completely free and responsible for their own choices and actions. He argued that life is meaningless and that individuals must create their own meaning through their actions and choices. He was highly critical of capitalism and the oppressive structures of society, and advocated for social change and freedom from oppressive systems. Sartre also wrote extensively on literature and art, and was a major influence in the development of French literature and culture. He was awarded the Nobel Prize in Literature in 1964, but declined the honor in protest of the Nobel Committee's acceptance of capitalism.
Sartre was a prolific writer and his works have had a profound impact on philosophy and literature. He wrote several influential books on existentialism, including Being and Nothingness and Existentialism is a Humanism. He also wrote several plays, novels, and essays, and was an important figure in the development of French literature and culture. His works are widely read and studied in universities and colleges around the world. His influence has been felt in many fields, from literature and philosophy to politics and culture.
Sartre was also an important political figure in France and was a vocal critic of the government. He was a leader of the student movement in 1968 and was an advocate for social justice and freedom of expression. He was an outspoken critic of the Vietnam War and an advocate for peace. He also wrote extensively on Marxism and was a major influence on the French left. His works had a major impact on the development of French socialism and communism.
Sartre passed away in 1980, leaving behind a legacy of philosophical and literary works that continue to influence people around the world. He was a major figure in the development of 20th century philosophy and literature, and his works have had a profound impact on the way people think and act. His works on existentialism and Marxism have shaped the way people think about freedom, justice, and oppression. Sartre's works continue to be read and studied in universities and colleges around the world, and his influence continues to be felt in many fields.
Jean-Paul Sartre was an influential figure in 20th century philosophy and literature, and his works continue to influence people around the world. He was a major contributor to the development of French literature and culture, and his works on existentialism and Marxism were highly influential. He was a vocal critic of oppressive systems and advocated for freedom and justice. His works continue to be read and studied in universities and colleges around the world, and his legacy continues to shape the way people think and act.
Certificat d'authenticité
Toutes nos pièces sont vendues avec un certificat d'authenticité. Si une pièce se révèle être erronée ou si vous n'aimez pas un autographe, vous récupérerez votre argent toute une vie.
Paiement et sécurité
Vos informations de paiement sont gérées de manière sécurisée. Nous ne stockons ni ne pouvons récupérer votre numéro de carte bancaire.