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La peinture prise aux Lettres : ou comment définir une troisième structure visuelle en art

Abstract : It’s a question of one of peculiarities of art : the painting.It’s a question, following a personal practice cultivated for many years and investigating the complex relations between plastic expression and integration of the written letter, of reflecting about the singular entity that is the writing.It’s then that, conjugating the plastic work and the research work, behaves this study which the objective establishes and develops around the question of relationships text/picture within the painted works crossing and building the whole western art history.Everything begins with the proverb thrown, in 1924, by the artist Paul Klee (1879-1940) declaring that :« To write and to draw are identical in their bottom » .A subdivision between the literary and pictorial disciplines been va¬lid for centuries and it in spite of the common etymology of the terms « to write » and « to draw » formulated from the greek grapheïn word. Neverthe¬less, towards the artistic practices led by the cubists, such the sten¬cil or the stuck paper, by the futurists, such the upheaval of the codes of composition and layout, by Dada, such the destruction of the language, by the surrealists, such the automatic writing, by the lettrist, such the conside¬ration of the visual peculiarity of the letter, and by the Conceptual art envisaging the paper as subject in the work, we see that the links weaved bet¬ween the iconic domain and the textual domain are constantly renewed and deserve a detailed examination.So, our research organizes and analyzes the various practices granted literally within the pictorial universe. It considers its integration, its impli¬cation, its evolution and its resonnance in the field of vision. The translation of the pictorial modalities of the writing, after the observation of works contemporary as those of Jenny Holzer, Claude Closky, Tania Mouraud, brings to the foreground the indication of a new current organization of the graphic codes which, after the reign of the representation and that of the abstraction in art, investigates the grapheme as the first and full pictorial subject. Paul KLEE, Theory of the modern art, Gallimard, Paris, (1956), 1998, p. 58. Bruno DUBORGEL, Figures of the grapheïn, University Publications of Saint-Etienne, Saint-Etienne, 2000, pp. 11-12. « Grapheïn… A/ Primitively, graze, skin… B/ Following, to draw signs to write or to draw, from : I/ Graze… II/ to write… […] The graphô verb is attested since Homère. Sense : « scratch » (Cf. Iliade 17, 599), to draw, to write, where from to draft a decree, etc. », extracted from the André Bailly's Greek-French Dictionary (16th publishing, Hachette, Paris, 1950) and of the Etymological Dictionary of the Greek language of Paul Chantraine (History of the words, Klincksieck, Paris, 1968).
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Submitted on : Monday, November 5, 2012 - 3:47:23 PM
Last modification on : Wednesday, October 14, 2020 - 3:46:21 AM
Long-term archiving on: : Wednesday, February 6, 2013 - 3:55:45 AM


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Angélique Coatleven-Brun. La peinture prise aux Lettres : ou comment définir une troisième structure visuelle en art. Art et histoire de l'art. Université Michel de Montaigne - Bordeaux III, 2012. Français. ⟨NNT : 2012BOR30023⟩. ⟨tel-00748596⟩



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