Amédée Ozenfant (editor)

L'èlan, No 9

Forlag: Société Générale d’Impression - Sprog: Fransk - Udgivet år: 1916 - Antal bind: 1 - Oplag: 1 - Udgave: 1 - Antal sider: 20 - Indbinding: Hæftet. - Tilstand: Med brugsspor. omslag med delvist revnet bagfals -
Bog ID: 24299

Nr. 505 af 1000 eksemplarer. In April 1915 French cubist writer and painter Amédée Ozenfant published the first issue of L’Elan, a magazine dedicated to French art in response to the first World War. Dedicated to the “French spirit,” L’Elan was intended as propaganda not so much to support the French war effort as to sustain French art and culture, a way of showing solidarity in the face of unprecedented slaughter. Nonetheless, the magazine’s aesthetic stance was inherently a political one, as much of the magazine’s contents attempted to portray the French as more cultured and aesthetically revolutionary than their German opponents. Ozenfant paid particular attention to the visual appeal of the magazine, most notably in his experimentation with typography. His use of a mélange of typefaces within a single poem or essay became what he referred to as psychotypique, where the typeface of the work participates in the meaning of the text. He cites André Billy’s definition of psychotypie as his working definition: “art that involves making the typographic characters participate in the expression of the thought and in the painting of states of the soul, no longer as conventional signs but as signs having a meaning in themselves” (L’Elan Apr 1915 2). During its brief lifespan, L’Elan featured the works of celebrated painters and poets, many of whom were also fighting in the war: Guillaume Apollinaire and André Derain, for instance, are touted not as artists but as “soldier[s] in the trenches.” In addition to cubist experimentation and typographical flair, the magazine often included more realistic drawings of soldiers; “Types de la Grand Guerre,” for instance, was a series of soldiers sketched by French soldiers on the warfront. Faced with financial difficulty and the recent death of this father, Ozenfant cancelled the magazine in 1916. He later said that the magazine “opened all doors to me,” having put him in contact with so many different influential artists.

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