By Linda Goddard
This booklet explores interplay and festival among portray and literature in France, from the overdue 19th century to the early 20th, delivering new readings of works via key figures together with Paul Gauguin, Stéphane Mallarmé, Pablo Picasso and André Gide. Combining shut visible and literary research with a broader exam of serious discourse, the amount uncovers a mutual yet usually contentious trade of principles. the writer demanding situations behavior of periodisation, drawing cognizance to the hyperlinks among Symbolist and Cubist feedback. concerns equivalent to the controversy approximately ‘literary’ portray, the function of paintings feedback and artists’ writings, in addition to topics equivalent to newspapers and gold, alchemy and forgery, are proven to attach the 2 centuries. In studying how the rejection of mimesis in portray affected literary responses to the visible arts, the ebook explores a shift in energy from the verbal to the visible within the early a long time of the 20 th century.
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Additional info for Aesthetic Rivalries: Word and Image in France, 1880-1926 (Cultural Interactions: Studies in the Relationship between the Arts)
Le tout est noyé dans des couleurs volontairement sombres et tristes; ce n’est ni la soie, ni le velours, ni la batiste, ni l’or qui forme ce luxe mais purement la matière devenue riche par la main de l’artiste. Pas de foutimaise, l’imagination de l’homme seule a enrichi de sa fantaisie l’habitation. Pour titre, Nevermore; non point le corbeau d’Edgar Poe, mais l’oiseau du diable qui est aux aguets. 101. 38 Chapter 1 for example, with the ‘sad and sombre colours’ and ‘barbaric luxury of ancient times’ a lament for a forgotten ‘primitive’ past.
18. 18 ‘le critique me demande: Vous êtes symboliste? 222. 295. 20 Following his brief glimpse of success in 1891, he had subsequently lost out to groups such as Péladan’s ‘Salon de la Rose + Croix’, whose allegorical mysticism lent itself more readily to literary exegesis. 21 On the cover of La Plume the drawing of Moréas is described as an ‘allegorical composition’ and Gauguin has surrounded the poet with imagery that calls for symbolic interpretation. A chubby-cheeked cherub clutching a laurel branch stares up in awe at Moréas, whose saucer-eyed gaze does not fix on any material object but is by implication directed inwards.
40 By 1888, he had centred on the term ‘abstraction’, warning Schuf fenecker in August not to imitate nature too directly: ‘don’t paint too directly from nature. 42 In a subsequent letter to the artist he followed very closely the passage from Delacroix, stating that ‘I know nothing about poetic ideas […]. 43 Gauguin’s theory of ‘abstraction’ was therefore informed by Delacroix’s defense of pictorial autonomy. It did not entail the complete suppression of a pictorial subject, but implied that this derived directly from the composition itself – with its poetic or musical harmonies – not from its conformity to natural appearances or literary themes.