
Le mythe de la Roche Perçee: poeme (The Myth of the Pierced Rock)
<p>Yvan Goll’s poems appear alongside three of Yves Tanguy’s abstract etchings, created in reference to the surreal beauty of Canada. The cover is made of a deep red, handmade paper with blond hair-like fibers throughout. Goll’s poem begins with a description of a large rock formation off the coast of Gaspe in Quebec, Canada, where he settled after fleeing Paris during World War II. Known as Pierced Rock, the formation bears a large hole in its center caused by water erosion. Legends describe the hole as an “eye” that changes colors with the weather. Goll’s poems continue this tradition, telling mythical tales of the rock personified. Similar to Mexico City, where Surrealism thrived around the same time, the Canadian landscape offered artists a new source of inspiration, as well as a relief from war-fatigued Paris.</p> <p>An etching by Yves Tanguy serves as the frontispiece to introduce the work and thereafter haunts the reader’s interpretation. Tanguy’s anthropomorphic figure renders the rock, captured in Goll’s words, ever more surreal. Two additional images are spaced throughout the book in a way that may immerse readers in a world where the rock formation is both personified and divine.</p>
Catalogue
- Year
- 1947
- Dimensions
- H.: 26 cm (10 1/4 in.)
- Collection
- Art Institute of Chicago
- Artist
- Yves Tanguy
Artist

Painting
Yves Tanguy was an American painter of French origin known for densely populated biomorphic landscapes rendered in oil, often depicting impossible terrains of undulating forms and spectral voids. His work, created between the 1920s and his death in 1955, occupied a singular space within Surrealism, eschewing the movement's reliance on recognizable dreamscapes in favor of purely invented anatomies and geologies. His compositions employ a narrow, luminous palette to render architectural organisms that seem to breathe and shift across barren horizons. Though associated with the Surrealist circle, his painting method was deliberate and architectural rather than automatic, building forms through precise layering and spatial recession.
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More by Yves Tanguy
Tailpiece from Un Poème dans chaque livre
1956 · Etching from an illustrated book with seven etchings (three with aquatint, one with aquatint, drypoint, engraving, and roulette), three drypoints (one with engraving), two aquatints, two woodcuts, one engraving, and one lithograph
Surrealist Composition with Smoking Container
1955 · Graphite, with smudging, on cream laid paper
Multiplication of the Arcs
1954 · Oil on canvas
Two Mechanical Figures
1954 · Pen and black ink, with white gouache, on cream wove paper
Untitled
1953 · Ink on paper
Thar
1952 · Gouache on gray wove paper
Record
Verified by WattsOS- Artist
- Yves Tanguy
- Year
- 1947
- Dimensions
- H.: 26 cm (10 1/4 in.)
- Watts ID
- WW-1947-126138
Source
- Collection
- Art Institute of Chicago
- Source
- aic
- Reference
- View at source
- Status
- verified





