Trois notes, sur trois carnets de peintres

Painter's Notebooks have commonly been considered as a laboratory for paintings. Miro' 's Notebooks still have such a function. And, as Picasso's and Groborne's Notebooks that we examine here, they contain « modern » research too in which we consider three main aspects : series, illisibility , « rébus ». Notebooks are at the same time « opera » and « opus ». Still strong ideological interpretors are menacing them, willing to find in them the « secret » explanation of the paintings, and to deduct the visible from the readable.