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

By Linda Goddard

This e-book explores interplay and festival 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 quantity uncovers a mutual yet usually contentious trade of principles. the writer demanding situations conduct of periodisation, drawing cognizance to the hyperlinks among Symbolist and Cubist feedback. concerns similar to the controversy approximately ‘literary’ portray, the function of paintings 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 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 20th 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)

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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’.  372–3. ‘art complet qui résume tous les autres et les complète. Comme la musique, il agit sur l’âme par l’intermédiaire des sens, des tons harmonieux correspondent aux harmonies des sons’, ‘en peinture on obtient une unité impossible en musique où les accords viennent les uns après les autres […] l’ouïe ne peut servir qu’à un seul son à la fois, tandis que la vue embrasse tout, en même temps qu’à son gré elle simplifie’.

If subjective mental impressions had the capacity to rise above the vagaries of material reality, they must possess a universal, and hence objective, quality. 73 Thus, subjectivity and objectivity collided in the realm 70 Moréas, ‘Le Symbolisme.  38. 71 J.  36. 72 ‘ce que j’appelle un visage ou un terrain, qu’est-ce en réalité pour moi, sinon certaines suggestions dans mon esprit liées, un morceau donc de ma propre vie’.  67. 73 ‘Derrière chaque forme transitoire, le poète doit donc percevoir la force, l’energie, l’âme qui crée perpétuellement des phantasmes et demeure une et identique en son principe’.

73 Thus, subjectivity and objectivity collided in the realm 70 Moréas, ‘Le Symbolisme.  38. 71 J.  36. 72 ‘ce que j’appelle un visage ou un terrain, qu’est-ce en réalité pour moi, sinon certaines suggestions dans mon esprit liées, un morceau donc de ma propre vie’.  67. 73 ‘Derrière chaque forme transitoire, le poète doit donc percevoir la force, l’energie, l’âme qui crée perpétuellement des phantasmes et demeure une et identique en son principe’.  19.

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