By Linda Goddard
This publication explores interplay and festival among portray and literature in France, from the past due 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 amount uncovers a mutual yet usually contentious trade of principles. the writer demanding situations conduct of periodisation, drawing consciousness to the hyperlinks among Symbolist and Cubist feedback. matters resembling the controversy approximately ‘literary’ portray, the position of artwork feedback and artists’ writings, in addition to subject matters corresponding to newspapers and gold, alchemy and forgery, are proven to attach the 2 centuries. In analyzing how the rejection of mimesis in portray affected literary responses to the visible arts, the publication explores a shift in energy from the verbal to the visible within the early many years of the 20 th century.
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This booklet explores interplay and festival among portray and literature in France, from the past due 19th century to the early 20th, supplying 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 severe discourse, the amount uncovers a mutual yet usually contentious trade of rules.
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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)
However, one point on which the majority of Symbolist critics agreed was that the ‘Idea’ no longer denoted the inspiration for a work of art, nor its explicit subject, but was equivalent to an emotion, sensation, memory or thought, which somehow transcended the object that inspired it. As a result, a primary concern for critics was the question of how to define the relationship between this Idée and its visual or verbal form. 69 A key motive for Symbolist writers’ subordination of form to Idée – and thus of painting to poetry – was their distaste for the superficial visions of the external world that they associated with Naturalist tendencies in art and literature.
Symboliste. 253. 22, remarked on the opportunism apparent at the banquet: ‘Ces gens qui se mangent le nez dans les journaux avaient trouvé à table leur veritable terrain de conciliation’. 253. 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.
63 Regardless of his insistence on the painting’s lack of academic polish (again appealing to the authority of Olympia) Gauguin’s proclaimed naivety is purely rhetorical. For despite his assertion to the contrary, the ‘devil-bird’, framed in the doorway, unavoidably recalls the raven that appears at the window in Poe’s poem, as well as the feathered creature in the background of Mallarmé’s portrait. Its proximity to the prominently inscribed title, which echoes The Raven’s haunting refrain (‘nevermore’), reinforces this connection and reminds us of Poe’s insistence on poetic ‘ef fect’ in ‘The Philosophy of Composition’.
Aesthetic Rivalries: Word and Image in France, 1880-1926 (Cultural Interactions: Studies in the Relationship between the Arts) by Linda Goddard