By Linda Goddard
This e-book explores interplay and pageant among portray and literature in France, from the past due 19th century to the early 20th, providing 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 quantity uncovers a mutual yet usually contentious alternate of rules. the writer demanding situations conduct of periodisation, drawing realization to the hyperlinks among Symbolist and Cubist feedback. matters equivalent to the talk approximately ‘literary’ portray, the function of artwork feedback and artists’ writings, in addition to issues akin to newspapers and gold, alchemy and forgery, are proven to attach the 2 centuries. In reading how the rejection of mimesis in portray affected literary responses to the visible arts, the booklet explores a shift in strength from the verbal to the visible within the early many years of the 20 th century.
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Extra resources for Aesthetic Rivalries: Word and Image in France, 1880-1926 (Cultural Interactions: Studies in the Relationship between the Arts)
38 In ‘Notes synthétiques’, Gauguin adopted Delacroix’s interdisciplinary frame of reference, describing painting as a ‘total art which absorbs all others and completes them. Like music, it acts on the soul by way of the senses, harmonious tones correspond to harmonies of sound’. 39 Like Delacroix’s ‘poetry’, Gauguin’s ‘music’ was a transferable quality not limited to a specific art form: in its all-embracing immediacy, painting was more ‘musical’ than music itself. 38 39 In a diary entry of 29 October 1857, Delacroix distinguished between ‘literary’ (narrative) and ‘poetic’ ideas, and remarked on the unfortunate limitations of language which mean that ‘Ce mot de poésie […] étant appliqué à signifier la qualité par excellence de tous les arts et désignant en même temps l’art de peindre avec la parole, semblerait indiquer que ce dernier art est l’art par excellence’.
103. ‘le Symbolisme agonise, le Magnificisme végète, le Magisme divague, et le Romanisme s’agite désespérément […]. 33. Hierarchies of the Senses in Symbolist Criticism 19 The particular version of Symbolism presented by the special edition of La Plume should be seen against this background of factionalism and one-upmanship. Five years before the journal dedicated this issue to ‘the Symbolism of Jean Moréas’ the daily newspaper Le Figaro had published the poet’s manifesto, ‘Symbolism’. Its timing was calculated with maximum impact to steal the limelight from rival poet René Ghil, whose recent treatise on French poetry, Le Traité du verbe (1886), had been endorsed with a preface from Mallarmé.
The pleasure caused by a painting is completely dif ferent from that caused by a literary work. There is a type of emotion that is unique to painting […] there is an ef fect created by a certain arrangement of colours, lights, shadows etc. It is what one would call the music of the painting. 36 Delacroix evoked a unity of the arts by comparing painting to poetry and music, but counteracted this by highlighting the unique qualities of the visual, thus reversing the conventional hierarchy between the disciplines.
Aesthetic Rivalries: Word and Image in France, 1880-1926 (Cultural Interactions: Studies in the Relationship between the Arts) by Linda Goddard