Aesthetic Rivalries: Word and Image in France, 1880-1926 (Cultural Interactions: Studies in the Relationship between the Arts)
This book explores interaction and competition between painting and literature in France, from the late nineteenth century to the early twentieth, offering new readings of works by key figures including Paul Gauguin, Stéphane Mallarmé, Pablo Picasso and André Gide. Combining close visual and literary analysis with a broader examination of critical discourse, the volume uncovers a mutual but often contentious exchange of ideas. The author challenges habits of periodisation, drawing attention to the links between Symbolist and Cubist criticism. Issues such as the debate about ‘literary’ painting, the role of art criticism and artists’ writings, as well as themes such as newspapers and gold, alchemy and forgery, are shown to connect the two centuries. In examining how the rejection of mimesis in painting affected literary responses to the visual arts, the book explores a shift in power from the verbal to the visual in the early decades of the twentieth century.
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. Before even knowing what the painting represents […] you are struck by this magical harmony […] This is the true superiority of painting over that other art.36 Delacroix evoked a unity of the arts by comparing painting to poetry and music, but
après coup le symbolisme de tel portrait ou de tel paysage’. Mazel (Saint-Antoine), 1894, p. 335. Bourdieu, 1994, and Dario Gamboni, ‘“Après le régime du Sabre le régime de l’homme de lettres”, la critique d’art comme pouvoir et comme enjeu’, in Bouillon, 1989, pp. 205– 20. See also Kearns, 1989. A number of other studies have traced the ways in which factors such as the expansion of the press, the diversification of exhibiting institutions and stylistic changes in visual art consolidated and
Nationalbibliothek. Die Deutsche Nationalbibliothek lists this publication in the Deutsche Nationalbibliografie; detailed bibliographic data is available on the Internet at http://dnb.d-nb.de. A catalogue record for this book is available from the British Library. Library of Congress Cataloging-in-Publication Data: Goddard, Linda. Aesthetic rivalries : word and image in France, 1880-1926 / Linda Goddard. p. cm. -- (Cultural interactions : studies in the relationship between the arts ; ser. no. 1
ideally as an art of great clarity and precision.123 Shortly afterwards, reviewing the Salon des Indépendants for La Nouvelle Revue française, he noted that the Cubists had ignored his advice and were now producing only ‘absurdities’. Borrowing the terms that Ghéon had used in his review of the previous year’s Salon d’Automne, he dismissed them as ‘theoreticians’ and ‘intellectualists’, for whom ‘intelligence […] reigns over sensibility’.124 Gleizes and Metzinger responded directly, in Du
ceased with the introduction of mass-cultural remnants into papier collé. It considers how both Mallarmé and Picasso mined material reality – as represented by the newspaper – for poetic or visual ‘gold’. This thematic juxtaposition of the emblems of gold and newspaper further erodes the division between debased, material ‘form’ and transcendent, poetic ‘Idea’ that sustained the hierarchy of verbal over visual in Symbolist and Cubist art criticism. Chapter 4 Mallarmé, Picasso and the