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, delivering 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 serious discourse, the amount uncovers a mutual yet usually contentious trade of rules. the writer demanding situations conduct of periodisation, drawing realization to the hyperlinks among Symbolist and Cubist feedback. concerns comparable to the controversy approximately ‘literary’ portray, the position of artwork feedback and artists’ writings, in addition to subject matters similar 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 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)

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52 A couple of years later, he Monfreid with French translations, which appeared alongside the Tahitian originals in the 1893 Durand-Ruel exhibition catalogue.  60.  138.  182. 52 ‘Pour peu qu’on étudie la bible, on peut voir que la doctrine qu’elle renferme en général et celle concernant le Christ en particulier, s’énoncent sous une forme symbolique présentant un double aspect, une forme qui d’abord matérialise l’idée pure pour la rendre plus sensible […] c’est le sens littéral, superficiel, figuratif, mystérieux d’une parabole: et puis le second aspect donnant l’Esprit de celle-ci.

2 Yet despite these points of comparison, the two images are markedly 1 2 An earlier version of part of this chapter was first published as ‘Birds of a Feather?  1, no.  55–72.  200. 18 Chapter 1 dif ferent in tone, the caricature of Mallarmé far more delicate, thoughtful and af fectionate. When read in terms of Gauguin’s sympathies with the dif fering theoretical positions of their subjects, these ambivalent portrayals shed light on his deeply involved but defiant relationship with Symbolism as a literary movement.

Delacroix’s insistence that all art amounts to poetry might seem, at first sight, to contradict his ef forts to elevate painting above literature. However, his verbal analogy depended on a crucial distinction – which he elsewhere made explicit – between the merely prosaic form of ‘literature’ and the all-encompassing notion of ‘poetry’. 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.

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