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Exposé Joan Mitchell, Ode To Joy (A Poem by Frank O'Hara), 1970
Exposé Joan Mitchell, Ode To Joy (A Poem by Frank O'Hara), 1970
exposé
Technique et Dimensions
Huile sur toile ; 280, 7 x 501 cm
Lieu de conservation
Unviversity at Buffalo Art Galleries
Description de l'œuvre
Triptyque
Trois panneaux indiscernables
Tableau composé de couleurs froides
Bleu ; Gris ; Marron ; Vert ; Ocre
> Couleurs en lien avec la nature
Toile constitué d'aplats de couleurs
Description de l'œuvre
Ode to Joy ( A poem by Frank O'Hara) exposé à l'Université de la galerie des arts Buffalo
Poème de Frank O’Hara, Ode to joy
L'œuvre et le poème
for our symbol we’ll acknowledge vulgar materialistic laughter
over an insatiable sexual appetite
and the streets will be filled with racing forms
and the photographs of murderers and narcissists and movie stars
will swell from the walls and books alive in steaming rooms
to press against our burning flesh not once but interminably
as water flows down hill into the full-lipped basin
and the adder dives for the ultimate ostrich egg
and the feather cushion preens beneath a reclining monolith
that’s sweating with post-exertion visibility and sweetness Tableau construit par rapport au
near the grave of love
No more dying
***
poème de Frank O'Hara
We shall see the grave of love as a lovely sight and temporary
near the elm that spells the lovers’ names in roots
Trois strophes / Trois parties
and there’ll be no more music but the ears in lips and no more wit
but tongues in ears and no more drums but ears to thighs
Aucune intention de dépeindre le
as evening signals nudities unknown to ancestors’ imaginations
and the imagination itself will stagger like a tired paramour of ivory poème
under the sculptural necessities of lust that never falters
like a six-mile runner from Sweden or Liberia covered with gold Peinture = forme de transcendance
as lava flows up and over the far-down somnolent city’s abdication
and the hermit always wanting to be lone is lone at last
and the weight of external heat crushes the heat-hating Puritan
whose self-defeating vice becomes a proper sepulcher at last
that love may live
“Il y a une connexion entre le poème et la peinture mais en
***
Buildings will go up into the dizzy air as love itself goes in aucun cas je n’ai lu le poème pour peindre ensuite le
and up the reeling life that it has chosen for once or all
while in the sky a feeling of intemperate fondness will excite the birds tableau” Joan Mitchell
to swoop and veer like flies crawling across absorbed limbs
that weep a pearly perspiration on the sheets of brief attention
and the hairs dry out that summon anxious declaration of the organs
as they rise like buildings to the needs of temporary neighbors
pouring hunger through the heart to feed desire in intravenous ways peint à partir de « paysages remémorés que je porte en moi -
like the ways of gods with humans in the innocent combination of light
and flesh or as the legends ride their heroes through the dark to found et de sentiments remémorés de ces paysages qui bien sûr se
great cities where all life is possible to maintain as long as time
which wants us to remain for cocktails in a bar and after dinner
lets us live with it
trouvent transformés » Citation de Joan Mitchell
No more dying
Peinture
en poésie
Réflexion par rapport
à l’organisation des
parties du tableau
PARMIGGIANI, Sandro (Dir.), 2009, Joan Mitchell : la pittura dei due mondi / la peinture des deux mondes,
cat. exp. (Reggio Emilia, Palazzo Magnani, 21 mars - 19 juillet 2009, Giverny, Musée des impressionnismes,
23 août - 31 octobre 2009, et Emden, Kunsthalle Emden, 6 décembre 2008 - 8 mars 2009). Milano : Skira
BOUGAULT, Valérie, 2022, “Poèmes et peinture”, Monet - Mitchell, Dialogue et rétrospective. H.S. N01000.
p. 40 - 42
MATHIEU, Marianne et SCHERF, Angeline (Dir.), 2022, MONET - MITCHELL, cat.exp. (Paris, Fondation
Louis Vuitton, 5 octobre 2022 - 27 février 2023). Paris : Editions Hazan
PIGUET, Philippe (Dir.), 2014, Joan Mitchell : mémoires de paysage avec Monet, Riopelle, Jaffe, Riegl,
Frydman, Kirkeby, Benzaken, cat. exp. (Caen, Musée des Beaux-Arts, 14 juin - 21 septembre 2014). Courtrai :
Snoeck