Poets and painters also created joint works, combining word and image in an unrestrained manner. These works were dubbed 'peinture-mots’ or word paintings.Because these anti-theorists saw no virtue in consistency, CoBrA's rejection of individual styles lived side-by-side with the belief that painting and poetry alike originate in handwriting - which is, of course, indelibly personal. The poet Dotremont pushed this notion the farthest, entangling words and pictures in drawings he called logogrammes. The painters, too, would sometimes let visual images turn into fragments of language. In The First Surrealist Manifesto, Breton had drawn a firm distinction between automatic poetry and automatic painting. For the CoBrA group, this was just another border to be trampled. A handwritten word could be seen as a picture and a picture as a hieroglyph, an ideogram in a flourish of makebelieve calligraphy, or shed its visual skin altogether and turn into a line of poetry.
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