By Linda Goddard
This booklet explores interplay and festival among portray and literature in France, from the overdue 19th century to the early 20th, providing new readings of works by way of 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 quantity uncovers a mutual yet usually contentious alternate of rules. the writer demanding situations conduct of periodisation, drawing recognition to the hyperlinks among Symbolist and Cubist feedback. concerns akin to the controversy approximately ‘literary’ portray, the function of paintings feedback and artists’ writings, in addition to subject matters comparable 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 e-book explores a shift in strength from the verbal to the visible within the early many years of the 20th century.
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Extra info for Aesthetic Rivalries: Word and Image in France, 1880-1926 (Cultural Interactions: Studies in the Relationship between the Arts)
14 Aurier’s reading of Gauguin, and its derivation from Moréas’s manifesto, remained largely undisputed, leading to the assumption that Symbolist art derived directly from the literary movement. When it has been discussed at all, Gauguin’s portrayal of Moréas has usually been taken as a confirmation of this. 15 Ostensibly a celebration of the poet and a declaration of allegiance to Symbolism, as La Plume must have understood it, the portrait has generally been accepted as a straightforward call to arms.
In an 1897 letter to Daniel de Monfreid, Gauguin linked Nevermore with his earlier painting by evoking the malevolent spirit of the tupapau and placing a similar emphasis on painterly form above literary narrative: I wanted to suggest with a simple nude a certain savage luxury of days gone by. It is all bathed in deliberately somber and sad colours; it is not silk, nor velvet, nor cambric, nor gold that creates this luxury but simply matter enriched by the artist’s hand. No clutter, it is human imagination alone whose fantasy has enriched the dwelling.
Hierarchies of the Senses in Symbolist Criticism 29 whereas for Leonardo the virtue of this immediacy lay in its superior realism, Delacroix argued that painting’s static conjunction of forms in space was precisely what liberated it from description, and allowed it to approach, even transcend, the purity of music. Delacroix’s insistence that all art amounts to poetry might seem, at first sight, to contradict his ef forts to elevate painting above literature. However, his verbal analogy depended on a crucial distinction – which he elsewhere made explicit – between the merely prosaic form of ‘literature’ and the all-encompassing notion of ‘poetry’.