By Linda Goddard
This e-book explores interplay and pageant among portray and literature in France, from the overdue 19th century to the early 20th, supplying new readings of works by means 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 severe discourse, the amount uncovers a mutual yet frequently contentious alternate of rules. the writer demanding situations conduct of periodisation, drawing realization to the hyperlinks among Symbolist and Cubist feedback. matters corresponding to the controversy approximately ‘literary’ portray, the position of paintings feedback and artists’ writings, in addition to topics 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 ebook 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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Additional info for Aesthetic Rivalries: Word and Image in France, 1880-1926 (Cultural Interactions: Studies in the Relationship between the Arts)
Adopting Moréas’s emphasis on the primacy of ‘Idea’ over ‘form’, Aurier extended the Symbolist label to visual art in his title ‘Le Symbolisme en peinture’, confirming the alliance between Gauguin and the literary Symbolists suggested by the inclusion of his drawing in La Plume. In February 1891, Gauguin attended Moréas’s banquet, rubbing shoulders with Anatole France, Maurice Barrès and a host of other literary figures such as André Fontainas, Charles Morice and Aurier. Little over a month later, he encountered some of the same men at his own banquet, held at the Café Voltaire on 23 March 1891.
3, 23. 254. 323–4. Baudelaire’s translation of The Raven first appeared in L’Artiste, 1 March 1853. 28 Even after Poe had admitted that his ‘mathematical’ method of composition was a fabrication, Mallarmé continued to insist upon its relevance. 29 It was also a procedure which he detected in the art of Manet and discussed in his essay ‘The Impressionists and Edouard Manet’, written shortly after their collaboration on The Raven and during Mallarmé’s revision of the faune. 30 It is to this combination of inf luences – in which poetry can no longer exclusively claim the upper hand – that Gauguin pays tribute.
P. xix, for details of further attacks. 1–4 (first published in Le Temps, 21 December 1890). 2. 13 A banquet in honour of the poet’s latest publication, Le Pèlerin passionné (1891), followed in early February. When, only a few months later, Moréas announced the death of Symbolism and the foundation of the Ecole romane française in collaboration with Charles Maurras, future founder of the far-right Action Française, little but the name had changed, for his devotion to the revival of Greco-Roman culture had been equally apparent in the extracts of his verse published in La Plume.