In the history of the relationship between literature and painting, the Cubist moment is emblematic of a modern and seemingly paradoxical situation in which exchanges between the two intensified precisely at a time when the condition apparently underpinning such exchanges - a shared reference - had been removed. This book offers a fresh look at the dialogue between these two art forms, revealing a common method at work. A reading of relevant works unpacks the potentialities generated by visible discontinuity; from there we can assess the contribution made by these texts and canvasses by capturing the sense of disquietude that drives experimentation with form, and then by reformulating it using the terms of what is sometimes called "new philosophy" (Nietzsche, Bergson, James, Poincaré). At a time when texts and images began to proliferate, the poems of Apollinaire and Reverdy, like the canvasses of Picasso, Braque and Gris, emerged as a way to restore a singular usage of representations.
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