Download Aesthetic Rivalries: Word and Image in France, 1880-1926 by Linda Goddard PDF

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, 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 severe discourse, the amount uncovers a mutual yet frequently contentious trade of principles. the writer demanding situations behavior of periodisation, drawing awareness to the hyperlinks among Symbolist and Cubist feedback. concerns reminiscent of the talk approximately ‘literary’ portray, the function of artwork 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 publication explores a shift in strength from the verbal to the visible within the early a long time of the 20 th century.

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Additional resources for Aesthetic Rivalries: Word and Image in France, 1880-1926 (Cultural Interactions: Studies in the Relationship between the Arts)

Sample text

The pedantic onomatopoeia of the ‘aboli bibelot d’inanité sonore’ has metamorphosed into the sibylline scintillation of the Septuor constellation. An analogous interplay between representation and abstraction characterises Gauguin’s Tahitian paintings. In Mahana no atua (1894, fig. 9), for example, similar forms in the sky and water unite the surface of the painting. In the upper part of the composition, they are recognisable as clouds, but once ref lected in the surface of the water, their representational value is transcended in a constellation of colour recalling the Septuor of the ‘Sonnet en yx’.

By publishing his caricature of Moréas in La Plume, Gauguin signalled his own importance within the Symbolist movement, but at the same time held this association at bay through his subtle visual satire. In addition to his collaboration on La Plume, Gauguin’s ef forts to generate publicity for an auction of his works at the Hotel Drouot on 24 February 1891 brought him into close contact with a number of important literary figures. Crucially, he managed to secure the aid of a triumvirate of Symbolist writers to ensure the publication of an article by the high-profile writer and art critic Octave Mirbeau in Le Figaro and L’Echo de Paris.

Le plaisir que cause un tableau est un plaisir tout dif férent d’un ouvrage littéraire. Il y a un genre d’émotion qui est tout particulier à la peinture […] il y a une impression qui résulte de tel arrangement de couleurs, de lumières, d’ombres etc. C’est ce qu’on appellerait la musique du tableau.  409–10.  221). Baudelaire also echoed the phrase (but without the denigration of literature) in ‘L’œuvre et la vie d’Eugène Delacroix’ (1863): ‘Un tableau de Delacroix, placé à une trop grande distance pour que vous puissiez juger de l’agrément des contours ou de la qualité plus ou moins dramatique du sujet, vous pénètre déjà d’une volupté surnaturelle […] et l’analyse du sujet, quand vous vous approchez, n’enlèvera rien et n’ajoutera rien à ce plaisir primitif ’.

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