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The aim of this article is to discuss and analyze an extensive essay by Konstanty A. Jeleński, entitled Bellmer albo anatomia miłości fizycznej i nieświadomości [Bellmer or the anatomy of physical love and the unconsciousness], devoted to the works of Hans Bellmer, a German painter, drawer and writer. The article presents the scope and nature of artistic activities undertaken by Bellmer and the way in which these activities and works were described and interpreted by Jeleński. The aim of the article is to show the basic contexts in which Jeleński placed controversial and ambiguous works by the German artist. The article also mentions the main interpretative keys Jeleński uses to show the creative philosophy and uncover the secrets of artistic expression, especially the mechanisms of perceiving the body and visual manifestations of unconsciousness which come to the fore in Bellmer’s works.

Diplomska naloga obravnava dve ženski lutki in njune fotografije nemškega umetnika Hansa Bellmerja, ki sta bili izdelani v tridesetih letih 20. stoletja po vzponu nacizma. Lutki je izdelal kot razstavljivi, kar mu je omogočalo nešteto različnih kombinacij telesnih delov. Naloga opredeli Bellmerjevo življenje, natančno analizira obe lutki in njune fotografije ter jih interpretira. Posluži se več različnih pristopov k umetniškim delom, s čimer poskuša Bellmerjevo umetnost razgrniti v vsej njeni ambivalentnosti. Obravnava zgodovinski razvoj modernega odnosa do umetnih struktur od 17. do 20. stoletja in pojasni, kdaj in zakaj se oblikuje ambivalentni odnos do mehanizmov. Posluži se psihoanalitičnega pristopa k Bellmerjevim lutkam v navezavi na Ojdipov in kastracijski kompleks, na drugi strani pa jih obravnava kulturno-zgodovinsko, s čimer jih umesti v kontekst nacizma in nadrealizma. Predstavi polemiko o tem, ali je nadrealistično gibanje patriarhalno mizogino ali, nasprotno, poskuša ženske osvoboditi njihove tradicionalne vloge v družbi. This thesis examines two female dolls and their photographs by the German artist Hans Bellmer in the 1930s – after the rise of Nazism. The dolls were made dismantlable, allowing the artist to create innumerable combinations of body parts. This work outlines Bellmer's life, offers a detailed analysis of the dolls and photographs, as well as provides their interpretation. By employing various approaches to works of art, it seeks to unfold Bellmer's art in all its ambivalence. It also examines the historical evolution of modern attitudes towards artificial structures from the 17th to 20th century and explains when and why the ambivalent attitudes towards mechanisms have been formed. The study takes a psychoanalytic approach to Bellmer's dolls, links them to the Oedipus complex and castration complex, as well as looks at the culture-historical approach to dolls, placing them in the context of Nazism and surrealism. It presents the controversy over the surrealist movement – is it based on patriarchy and misogyny or, on the contrary, aims to liberate women from their traditional role in society?

We analyze the intermingling of different expressions (poetic and intellectual) and languages (verbal and visual) in the work of the German artist linked to French Surrealism Hans Bellmer. Such a take on language is related to what the artist calls “the spectacle of the simultaneous structures”. We relate the constant alternation between word and image in his mature artistic text Petit Anatomie de l’image (1957) with Bellmer’s early productions, such as the open-ended work Die Puppe (The Doll, 1934). In this work, Bellmer already demonstrated the suppression of the image by the word. However, in the illustrations of Petit Anatomie, we observe the constant fusion of the three-dimensionality of drawing with the written text. To this end, we selected two drawings present in the author’s illustration for the 1957 text, from which we analyze the effects on the fruition of the work. As used material, our text includes translations of Bellmer into English (2004) and Portuguese (2019) and sources from the visual catalog of the artist of French origin. We also propose a relation of Bellmer’s work with the philosophy of language of the German poet and philosopher Novalis in his Monolog (1997). Analisamos a imbricação entre as diferentes expressões (poética e intelectual) e linguagens (verbal e visual) na obra do artista alemão ligado ao Surrealismo francês Hans Bellmer. Tal atitude se relaciona com aquilo que o artista nomina de “espetáculo das estruturas simultâneas”. Relacionamos a constante alternação entre a palavra e a imagem do texto de maturidade artística Petit Anatomie de l’image (1957) com as primeiras produções de Bellmer, como a obra em aberto Die Puppe (A Boneca, 1934). Nessa publicação, Bellmer já demonstrava a supressão da imagem pela palavra. Conquanto, nas ilustrações de Petit Anatomie, observamos a constante fusão da tridimensionalidade do desenho com o texto escrito. Para a análise, selecionamos dois desenhos presentes na ilustração do próprio autor para o texto de 1957, a partir dos quais analisamos os efeitos na fruição da obra. Como material para a pesquisa, constam no nosso texto traduções de Bellmer para o inglês (2004) e o português (2019), além de fontes do catálogo visual do artista de origem francesa. Propomos, ainda, uma relação da obra de Bellmer com a filosofia da linguagem do poeta e filósofo alemão Novalis em seu Monolog (1997).

En el marc surrealista de la «femme-enfant» s’hi desenvolupa la idea de la «dona-nina» i del maniquí. Hans Bellmer (1902-1975) crea la «poupée» desmuntable el 1934 i troba la seva nina víctima de carn i os en Unica Zürn (1916-1970), pintora i escriptora que convertirà la seva esquizofrènia en un relat biogràfic de creació pura. La relació de parella entre ambdós crea un paral·lelisme entre les «anatomies de la imatge» de Hans Bellmer i els anagrames d’Unica Zürn. Cos i escriptura s’esmicolen i fragmenten per recompondre’s de nou. La dimensió inconscient i l’automatisme psíquic assoleixen un estat de creació pura, més enllà dels jocs de societat dels surrealistes., In Surrealism’s «woman-child» we find the idea of the woman-doll and the mannequin. Hans Bellmer (1902-1975) creates the «poupée», the detachable doll in 1934, and finds his doll victim of flesh and blood in Unica Zürn (1916 to 1970), a painter and writer who will turn his schizophrenia into a biographical account of her own creation. The couple’s relationship creates a parallel between Hans Bellmer’s «image anatomies» and Unica Zürn’s anagrams. Body and writing decompose and fragment to recompose themselves again. The unconscious dimension and psychic automatism reach a state of pure creation, beyond the social games of the Surrealists.

La poupée de Hans Bellmer, peinte ou sculptée, avec ses désarticulations et réarticulations, ses ruptures et ses abouchements de membres, sert de modèle pour déchiffrer l'écriture complexe de Jacques Roman. On montre, à travers des exemples tirées de nombreux livres de cet auteur, comment celui-ci pratique un "style de la poupée" en désarticulant la phrase, le texte, la mémoire et la langue pour produire des rapprochements qui s'apparentent au surréalisme et à sa conception de l'inconscient.

Fabrice Flahutez : Hans Bellmer : Anagram and print at the service of a surrealist dream. The rich literature concerning Hans Bellmer’s photographs should not conceal the fact that his printing experience highlights the central point on which the whole approach of the artist is focused. : poetic anagram. The function of printing in the artist’s evolution is highly interesting. Besides, it is at the center of a research linked to technique. Thus the deliberate use of some specific techniques is a scrupulous choice on Bellmer’s part, so that the anagram can fully develop itself. They will be dealt with separately and what they added to the process of creation will be brought to light., Flahutez Fabrice. Hans Bellmer : l’anagramme et l’estampe au service d’un rêve surréaliste. In: Histoire de l'art, N°52, 2003. Noir et blanc. pp. 79-94.

If the surrealist group has attracted the interest of philosophers, one can also note that some of these artists have attempted to develop their own philosophical reflection. This was the case of Hans Bellmer obsessed with the themes of desire, body and metamorphosis and, through that, with the games of identity and otherness. The anatomy of the image, one of Bellmer’s essential books, also shows the role of the artistic creation in the efforts to illuminate the “enigma of existence”.

En la obra de Ana Clavel abundan los elementos intertextuales. Ana Clavel se remite intertextualmente a diferentes autores, como es el caso de Felisberto Hernández, o el artista surrealista Hans Bellmer. De este modo, Las violetas son las flores del deseo se convierte en un instrumento privilegiado para el análisis intertextual entre la obra de Felisberto Hernández, Las hortensias, y la obra del artista surrealista Hans Bellmer. The work of Ana Clavel is full of intertextual elements. Ana Clavel comes back to different authors, as is the case of Felisberto Hernandez or the surrealist Hans Bellmer. Therefore, Las violetas son las flores del deseo becomes a privileged instrument for the intertextual analyze between the work of Felisberto Hernandez, Las hortensias, and the work of the surrealist artist, Hans Bellmer.

Tränen überschreiten die Grenzen des Körpers von innen nach außen und werden damit zu einem sichtbaren Anzeichen eines seelischen Extremzustands. In der Arbeit wird untersucht, ob die Träne, die Körpergrenzen gefährdet oder sogar auflöst, in der modernen und gegenwärtigen Kunst Metapher und Trägerin innerästhetischer Transgression werden kann. Dies bedeutet zugleich, dass eine Umwertung der Träne, von der Perle der Reinheit zu einem bedrohlichen Fluidum, stattgefunden hat. Die Träne als eine bedrohliche Grenzüberschreiterin ist ein Motiv, das in früheren Kunstepochen so nicht anzutreffen ist. Damit verweist sie zugleich exemplarisch auf die Auflösungsstrategien, welche die Kunst des 20. und 21. Jahrhunderts bestimmen. Fotoarbeiten von Man Ray, Madame Yevonde und Sam Taylor-Wood, Zeichnungen von Pablo Picasso und Hans Bellmer, Performances von Marina Abramović und Gina Pane, Video-arbeiten von Bill Viola und Bas Jan Ader, Installationen von Daniele Buetti und eine Buchserie von Dieter Roth, denen allen das Motiv der Träne gemeinsam ist, werden in einem Close Rea-ding auf Auflösungstendenzen hin untersucht. Besonderes Augenmerk gilt medienspezifischen Strukturen und Analogien. Tears overstep the bounds of the human body from within – to become evidence of a crit-ical state of mind. The present study examines whether the tear, which endangers or even dispels the boundaries of the body, could be seen as a metaphor and even as an indication of aesthetic transgression in modern and contemporary art. This would mean that the tear as motif has also undergone a paradigm change, from the pearl of purity to a threatening fluid. The aspect of the tear as a transgressor of boundaries is not to be found in earlier periods of art. Accordingly, it also references the process of disintegration, which strongly determines 20th and 21st century art. Photographs by Man Ray, Madame Yevonde and Sam Taylor-Wood, drawings by Pablo Picasso and Hans Bellmer, performances of Marina Abramovic and Gina Pane, video works by Bill Viola and Bas Jan Ader, installations by Daniele Buetti and a series of books by Dieter Roth – which all deal with the tear complex – will be examined in close reading. Their connection with disintegrative tendencies will be scrutinised, and special attention given to media-specific structures and analogies.

The work of Ana Clavel is full of intertextual elements. Ana Clavel comes back to different authors, as is the case of Felisberto Hernandez or the surrealist Hans Bellmer. Therefore, Las violetas son las flores del deseo becomes a privileged instrument for the intertextual analyze between the work of Felisberto Hernandez, Las hortensias, and the work of the surrealist artist, Hans Bellmer. En la obra de Ana Clavel abundan los elementos intertextuales. Ana Clavel se remite intertextualmente a diferentes autores, como es el caso de Felisberto Hernández, o el artista surrealista Hans Bellmer. De este modo, Las violetas son las flores del deseo se convierte en un instrumento privilegiado para el análisis intertextual entre la obra de Felisberto Hernández, Las hortensias, y la obra del artista surrealista Hans Bellmer.