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Symbolism
Offers a new analysis of European symbolist art, situating the movement in its historical context and retracing its links with the evolution of ideas, particularly in literature.
Odilon Redon: L'Expo
Published on the occasion of the largest ever Odilon Redon retrospective, held at the Grand Palais in Paris in the spring of 2011, this chunky but pocketbook-size paperback volume reproduces all 256 artworks included in the landmark exhibition. It begins with Redon's "Self-Portrait" of 1867 and then examines his famous suites of lithographs, including Dans le Rêve and the classic illustrations to Poe, Huysmans and Flaubert. All of the great pastels and oils are here, in full color, as well as lesser-known works like painted screens; throughout, each of the works is accompanied by the captions used in the exhibition, which provide details of provenance and, where relevant, edition size.
Monet
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Odilon Redon
Præstentation af den franske kunstner Odilon Redons (1840-1916) værker
Nature’s Experiments and the Search for Symbolist Form
This provocative study argues that some of the most inventive artwork of the 1890s was strongly influenced by the methods of experimental science and ultimately foreshadowed twentieth-century modernist practices. Looking at avant-garde figures such as Maurice Denis, Édouard Vuillard, August Strindberg, and Edvard Munch, Allison Morehead considers the conjunction of art making and experimentalism to illuminate how artists echoed the spirit of an increasingly explorative scientific culture in their work and processes. She shows how the concept of “nature’s experiments”—the belief that the study of pathologies led to an understanding of scientific truths, above all about the human mind...
Symbolism, Its Origins and Its Consequences
The notion of the symbol is at the root of the Symbolist movement, but this symbol is different from the way it was used and understood in the Middle Ages and Renaissance. In the Symbolist movement, a symbol is not an allegory. The Belgian writer Maurice Maeterlinck defined its essence in an article that appeared on April 24, 1887, in L’Art moderne. He wrote that the notion of a symbol in the Symbolist movement is the opposite of the notion of the symbol in classical usage: instead of going from the abstract to the concrete (Venus, incarnated in the statue, represents love), it goes from the concrete to the abstract, from “what is seen, heard, felt, tasted, and sensed to the evocation of...
Gender, Space, and the Gaze in Post-Haussmann Visual Culture
Charles Baudelaire’s flâneur, as described in his 1863 essay "The Painter of Modern Life," remains central to understandings of gender, space, and the gaze in late nineteenth-century Paris, despite misgivings by some scholars. Baudelaire’s privileged and leisurely figure, at home on the boulevards, underlies theorizations of bourgeois masculinity and, by implication, bourgeois femininity, whereby men gaze and roam urban spaces unreservedly while women, lacking the freedom to either gaze or roam, are wedded to domesticity. In challenging this tired paradigm and offering fresh ways to consider how gender, space, and the gaze were constructed, this book attends to several neglected element...
Snarl
Ruth A. Miller excavates a centuries-old history of nonhuman and nonbiological constitutional engagement and outlines a robust mechanical democracy that challenges existing theories of liberal and human political participation. Drawing on an eclectic set of legal, political, and automotive texts from France, Turkey, and the United States, she proposes a radical mechanical re-articulation of three of the most basic principles of democracy: vitality, mobility, and liberty. Rather than defending a grand theory of materialist or posthumanist politics, or addressing abstract concepts or “things” writ large, Miller invites readers into a self-contained history of constitutionalism situated in a focused discussion of automobile traffic congestion in Paris, Istanbul, and Boston. Within the mechanical public sphere created by automotive space, Snarl finds a model of democratic politics that transforms our most fundamental assumptions about the nature, and constitutional potential, of life, movement, and freedom.
