Gaëlle Josse is an author who has made intermediality one of the characteristics of her literary research and her writing: the arts, music and painting in particular, solicit her creative reverie, and she seizes works and artists of the past to compose her narrative texts. She has published three works which are marked with the painting of the seventeenth century: the text "Les heures silencieuses" was generated from an encounter with the interior painting with a woman playing spruce Emanuel de Witte, made around 1660; "L'Ombre de nos nuits" is derived from the vision of Georges de la Tour's painting San Sebastian cared for by Irene, from 1649; and in "Vermeer, entre deux songes", she proceeds to a reverie around Young Sleeping Girl composed by the Flemish painter in 1657. In these works the reflection on the pictorial techniques accompanies the questioning on the power of the artistic creation, as well as on the issues of the reception and the craze of the contemporary spectator for the works of the past. The article offers a reading of the texts where the author takes us inside her relationship with the paintings and proposes intimate stories centered on young women and their relationship to life, family and reality. who surrounds them.

Gaëlle Josse : écrire avec la peinture du XVIIe siècle

bricco elisa
2019-01-01

Abstract

Gaëlle Josse is an author who has made intermediality one of the characteristics of her literary research and her writing: the arts, music and painting in particular, solicit her creative reverie, and she seizes works and artists of the past to compose her narrative texts. She has published three works which are marked with the painting of the seventeenth century: the text "Les heures silencieuses" was generated from an encounter with the interior painting with a woman playing spruce Emanuel de Witte, made around 1660; "L'Ombre de nos nuits" is derived from the vision of Georges de la Tour's painting San Sebastian cared for by Irene, from 1649; and in "Vermeer, entre deux songes", she proceeds to a reverie around Young Sleeping Girl composed by the Flemish painter in 1657. In these works the reflection on the pictorial techniques accompanies the questioning on the power of the artistic creation, as well as on the issues of the reception and the craze of the contemporary spectator for the works of the past. The article offers a reading of the texts where the author takes us inside her relationship with the paintings and proposes intimate stories centered on young women and their relationship to life, family and reality. who surrounds them.
Gaëlle Josse est une auteure qui a fait de l’intermédialité l’une des caractéristiques de sa recherche littéraire et de son écriture : les arts, la musique et la peinture notamment, sollicitent sa rêverie créatrice, et elle s’empare des œuvres et des techniques d’artistes du passé pour composer ses textes narratifs. Elle a publié trois ouvrages qui sont empreints de la peinture du xviie siècle : le texte "Les Heures silencieuses" est né d’une rencontre avec le tableau Intérieur avec une femme jouant de l’épinette d’Emanuel de Witte, réalisé vers 1660 ; "L’ombre de nos nuits" est issu de la vision du tableau de Georges de La Tour Saint Sébastien soigné par Irène, de 1649; et dans "Vermeer, entre deux songes", elle procède à une rêverie autour de Jeune Fille assoupie composé par le peintre flamand en 1657. Dans ces ouvrages la réflexion sur les techniques picturales accompagne le questionnement sur le pouvoir de la création artistique, ainsi que sur les enjeux de la réception et de l’engouement du spectateur contemporain pour les œuvres du passé. L'article propose une lecture des textes où l’auteure nous emmène à l’intérieur de sa relation avec les tableaux et nous propose des récits intimes centrés sur des jeunes femmes et sur leur relation à la vie, à la famille, à la réalité qui les entoure.
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Utilizza questo identificativo per citare o creare un link a questo documento: https://hdl.handle.net/11567/945695
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