Jacob was known for his lively wordplay, and his ability with prose poetry was illustrated in the set Le Cornet ds.
Writer Max Jacob was born on July 12, 1876, in Quimper, France. The son of Jewish tailors and antique vendors, he felt the sting of anti Semitism as a youngster. After studying at College La Tour-d’Auvergne, he stole cash from his mother to move to Paris in 1897.
Immersed in artwork during an age when symbolism, cubism, surrealism and other modernist types were converging, Jacob borrowed from several fashions without definitively belonging to any one group. He was, nevertheless, acknowledged as among the leading professionals of prose poetry, as presented in his famous group, Le Cornet ds. Other noticed poetic groups contain Le Laboratoire Central and Pomes de Morvan le Galique, as well as in the prose poetry hybrid vehicle La Dfense de Tartufe, as well as other novels, plays and letters, he shown a lively penchant for wordplay.
Jacob also cultivated a gift for visual art. Although he was much more well-known for his skill with words, he procured exhibits in Paris and New York City for his drawings and paintings. Jacob promised to have had a vision of Christ in among his paintings in 1909. He converted to Catholicism in 1915, with Picasso taking on the part of his godfather, although his conversion did little to come his homosexual impulses, as he’d expected.
Tired of the temptations of the bohemian lifestyle, Jacob went to the Benedictine monastery at Saint Benot-sur-Loire in 1921. He continued to travel and returned to Paris for lengthy stints, but spent the majority of his time painting and composing in the monastery on the next two decades. On February 24, 1944, Max Jacob was detained by the Gestapo at Saint Benot-sur-Loire.
Although Jacob isn’t recalled in the exact same respect as his former compatriot, Picasso, or alternative French poets including Charles Baudelaire or Arthur Rimbaud, he’s still recognized as a significant contributor to the early 20th century Parisian landscape that sought to tear down present ideals and redefine artistic theories for consecutive generations.