Guillaume Apollinaire

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Guillaume Apollinaire (born 1880 – 1918) was a French poet, playwright, short story writer, and art critic of Polish-Belarusian descent. Apollinaire is known as one of the twentieth century's finest poets, as well as one of Cubism's most ardent supporters and a survivor of Surrection.

In 1911, he coined the term "cubism" to describe the emergence of art movement in 1911, and the term "survival" was coined to refer to Erik Satie's work.

Orphism (1912) is also his name.

Apollinaire wrote The Breasts of Tiresias (1917), one of the early Surrealist literary works that became the basis for Francis Poulenc's 1947 opera Les mamelles de Tirésias. Apollinaire was active as a journalist and art critic for Le Matin, L'Intransigeant, L'Esprit nouveau, Mercure de France, and the Paris Journal.

In 1912, Apollinaire cofounded Les Soirées de Paris, an artistic and literary journal. Apollinaire died in the 1918 Spanish influenza pandemic, two years after being wounded in World War I; he was 38.

Life

Wilhelm Albert W. Apolinary Kostrowicki was born in Rome, Italy, and learned French, Italian, and Polish. In his late teens, he immigrated to France and used the word Guillaume Apollinaire. Angelika Kostrowicka, a Polish-Lithuanian noblewoman born near Navahrudak, Grodno Governorate (former Grand Duchy of Lithuania, now Belarus) is his mother. Since the revolt failed, his maternal grandfather was active in the 1863 revolt against occupying Russia and had to migrate. The father of Apollinaire's father is unknown, but it may have been Francesco Costantino d'Aspermont (1835), a Graubünden aristocrat who died early from Apollinaire's life. Osford von Aspermont, a nephew of Conradin Flugi d'Aspermont (1787–1874), a writer who wrote in ladin putér (an official language dialect of Switzerland spoken in Engiadina ota), and perhaps also of Minnesänger Oswald von Wolkenstein (born in 1377; see Les ancêtres Grisons du poète Guillaume Apollinaire at Généanet).

Apollinaire went from Rome to Paris in 1900 and became one of Paris's most influential artists (both in Montmartre and Montparnasse). Pablo Picasso, Henri Rousseau, Gertrude Stein, Max Jacob, André Breton, André Breton, André Breton, Faik Konetza, Pierre Reverdy, Blaise Cendrars, Gabriel Sossip Zadkine, Marc Chagall, Marcel Duchamp, and Jean Metzinger were among his associates and colleagues from the time. He became romantically involved with Marie Laurencin, who is often described as his muse. While there, he dabbled in anarchism and spoke out as a Dreyfus, defending Dreyfus's innocence.

Metzinger created Apollinaire's first Cubist portrait. The poet's Vie anecdotique (16 October 1911) writes: "I am honored to be the first model of a Cubist painter Jean Metzinger for a portrait on display in 1910 at the Salon des Indépendants." According to Apollinaire, it was not only the first Cubist portrait, but it was also the first major portrait of the poet unveiled in public, ahead of others by Louis Marcoussis, Amedeo Modigliani, Mikhail Larionov, and Picasso.

He joined the Puteaux Group, a Cubist movement whose local branch would be known as the Section d'Or in 1911. Apollinaire presented the opening address of the 1912 Salon de la Section d'Or, the most important pre-World War I Cubist exhibition.

On September 7, 1911, police detained and jailed him on suspicion of assisting and facilitating the robbery of the Mona Lisa and a number of Egyptian statuettes from the Louvre, but he was released a week later. According to the French newspaper "Bournal," the statues were stolen in 1907 by a former minister of Apollinaire Honoré Joseph Géry Pieret, who had recently returned one of the stolen statues. Apollinaire accused Picasso, who had acquired Iberian statues from Pieret and who was later accused of involvement in the Mona Lisa loo loo theft, but he was also exonerated. Vincenzo Peruggia, an Italian house painter who worked alone and was only caught two years later when attempting to sell the Mona Lisa in Florence, was perpetrated the robbery.

Apollinaire wrote the preface to the first Cubist exhibition outside of Paris; VIII Salon des Indépendants, Brussels, 1911. Apollinaire said in an open-handed introduction to the Brussels Indépendants' catalogue that these 'new painters' accepted the name of Cubists, which has been given to them. Cubism was described as a modern manifestation and high art [manifestation nouvelle et très haut de l'art] rather than a system that restricts creativity [non-point uncontraignant les talents], and the differences that distinguish not only the talent but also the styles of these artists are a clear sign of this. Pablo Picasso, Georges Braque, Jean Metzinger, Albert Gleizes, Robert Delaunay, Fernand Léger, and Henri Le Fauconnier were among the artists involved with the new movement, according to Apollinaire. Jacques Villon, Marcel Duchamp, Raymond Duchamp, Francis Picabia, Juan Gris, Juan Gris, and Roger de La Fresnaye were among the 1912 Cubists to join the Cubists: among them were Jacques Villon, Marcel Duchamp, Raymond Duchamp, Bernard Duchamp, Juan Gris, and Roger de La Fresnaye.

Apollinaire at the Salon de la Section d'Or in 1912 coined Orphism to describe Robert Delaunay and Frantiek Kupka's contributions. Apollinaire's lecture at the Section d'Or exhibition included three of Kupka's abstract works as excellent examples of pure painting, as anti-figurative as music.

Méditations Esthétiques (1913) Apollinaire referred to Orphism as "the art of painting new totalities with elements that the artist does not borrow from visual reality but creates entirely by himself." [...] An Orphic painter's works should inspire an untroubled aesthetic pleasure while still maintaining a concrete structure and sublime significance. According to Apollinaire Orphism, a step toward a completely new art-form was made, much as literature was to music.

Apollinaire's first use of Surrecalism in 1917 was related to the ballet Parade. Arthur Rimbaud wanted to be a visionary, to see the darker side of life in a world of another reality. Apollinaire, in the tradition with Rimbaud, was on the hunt for a lost and mysterious reality. "I think it's better to adopt surrealism" than supernaturalism, which I first used in a letter from Apollinaire to Paul Dermée: "I think in fact it's better to adopt surrealism rather than supernaturalisme, which I first used."

When he wrote the program note the following week, he referred to Parade as "a kind of surrealism" (une sorte de surrectione), thus coining the term three years before Surrealism became a Paris art movement.

Apollinaire served as an infantry officer in World War I and sustained a serious shrapnel wound to the temple in 1916, which he would never fully recover. When recovering from this injury, he wrote Les Mamelles de Tirésias. In the program notes for Jean Cocteau's and Erik Satie's ballet Parade, first performed on May 18, 1917, he coined the phrase "surrection." L'Esprit nouvelle et les poètes is also a literary journal by the artist. Apollinaire's reputation as a literary critic is most well-known and influential in his recognition of the Marquis de Sade, whose contributions were for a long time obscure, but his presence in Montparnasse as a nexor in the twentieth century as "the freest spirit that ever existed."

Apollinaire weakened by war died at the age of 38 on 9th November 1918 of influenza, sweeping Europe at the time, two years after being wounded in World War I. He was named "Dead for France" by the French government despite his military service during the war. (Mort pour la France) He was laid to rest in Père Lachaise Cemetery, Paris.

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