In Transition: A Paris Anthology: Writing and Art from Transition Magazine 1927-30 (1990)

A selection of the some of the best writing to appear in transition, an experimental literary journal that featured surrealist, expressionist, and Dada art and artists. Founded in 1927 by Paris-based poet Eugene Jolas, it was originally intended to serve as an outlet for experimental poetry, but gradually expanded to incorporate contributions from sculptors, photographers, writers, civil rights activists, critics, and cartoonists. The magazine ran through the spring of 1938, with a total of 27 issues published.

With texts by Samuel Beckett, Paul Bowles, Kay Boyle, Georges Braque, Alexander Calder, Hart Crane, Giorgio De Chirico, Andre Gide, Robert Graves, Ernest Hemingway, James Joyce, C. G. Jung, Franz Kafka, Paul Klee, Archibald MacLeish, Man Ray, Joan Miro, Pablo Picasso, Katherine Anne Porter, Rainer Maria Rilke, Diego Rivera, Gertrude Stein, Tristan Tzara, William Carlos Williams and others.

With an Introduction by Noel Riley Fitch
Publisher Anchor Books, Doubleday, New York, 1990
ISBN 0385411502, 9780385411509
256 pages
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Wikipedia

PDF
Scans of 18 issues of the magazine (at National Library of France)

Michel Foucault: Manet and the Object of Painting (1971–) [FR, ES, EN, RU]

“In this encounter between one of the 20th century’s greatest minds and an artist fundamental to the development of modern art, Michel Foucault explores Edouard Manet’s importance in the overthrow of traditional values in painting.

Originally delivered in Tunis in 1971 as part of a conference on Manet and here translated into English for the first time, this powerful critique takes the form of a commentary on 13 of Manet’s paintings. For the political-minded philosopher, the connection between visual art and power was clear: art is not an aesthetic pursuit, but a means to explore and challenge power dynamics. A precursor to Foucault’s later work on le regard, or the gaze, the text examines paintings like Un Bar aux Folies-Bergere, where Manet used the mirror to imply the multiple gaze of the waitress, the viewer, and the man at the bar, who may or may not be the artist himself. Foucault used Manet as a basis for a wider exploration of culture.”

English edition
Translated by Matthew Barr
With an Introduction by Nicolas Bourriaud
Publisher Tate, London, 2009
ISBN 1854378457, 9781854378453
80 pages

Commentary: James Polchin (The New Inquiry, 2011)
Bruno-Nassim Aboudrar (Critique d’art, 2004, FR).
Review: John Elias Nale (Foucault Studies, 2005).

Publisher (FR)
Publisher (EN)

Le noir et la surface & La peinture de Manet (French, manuscript with transcription, from Cahiers de L’Herne, 2011, pp 378-395 & 396-409). Audio excerpt (both links updated on 2021-2-3)
La pintura de Manet (Spanish, trans. Roser Vilagrassa, 2005)
Manet and the Object of Painting (English, trans. Matthew Barr, 2009, updated on 2021-2-3)
Zhivopis Mane (Russian, trans. A.V. Dyakov, 2011, added on 2014-6-6)

See also Georges Bataille: Manet: Biographical and Critical Study, 1955.

Georges Bataille: Manet: Biographical and Critical Study (1955)

Bataille’s introduction to Manet.

The essay also appeared as Manet. Études biographique et critique, Skira, Genève, 1955
Translated by Austryn Wainhouse and James Emmons
Publisher Skira, 1955
135 pages
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Commentary: Anne McConnell (Equinoxes, 2004).

PDF

See also Michel Foucault: Manet and the Object of Painting (1971, FR, EN)