Christa Giles

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130 frowned and looked very severe, for he did not approve of children dreaming. 358 Moreau’s popularity among decadent artists was in part due to his evocation of dream worlds. Occasionally, this took an obvious form. In Moreau’s ˝The Dream of an Inhabitant of Mongolia,˝ an old man lies sleeping on a couch. From open windows Constantinople can be seen in the distance. Two large floating bubbles contain the old man’s dreams. The entire composition is done in light shades with almost transparent watercolours. Of course, Moreau was greatly influenced by Flaubert’s La Tentation de Saint-Antoine, and in this novel, infused with an aura of exoticism, the saint’s visions and hallucinations are prompted by his own subconscious fears and desires, encompassing the fantastical and hallucinatory. Indeed many of the themes of La Tentation de Saint-Antoine recur in decadent fiction: exoticism, Sphinxes and Chimeras, yearning, the juxtapositon of paganism and Christianity. The Byzantine Empire particularly held a great fascination at the fin de siècle as it was associated with complex symbolism and language–a kind of modern sophistication. Therefore Des Esseintes sought in a novel not only the quality of strangeness but also
Byzantine flowers of thought and deliquescent complexities of style; he demanded a disquieting vagueness that would give him scope for dreaming. 359 Flaubert was to give him what he sought through a: series of vast, imposing scenes, grandiose pageantries of barbaric splendour in which there participated creatures delicate and sensitive, mysterious and proud, women cursed, in all the perfection of their beauty… 360 131 Woman figured prominently in this dream world, being the repository of all mystery. In La Tentation de Saint- Antoine she both attracts and repels, incarnating at one moment the mysterious sphinx, at another lust and death. Moreau’s unfinished painting ˝The Chimeras˝ embodies these obsessions. It is a bizarre, chaotic mixture of details: jewels, city, and figures. The painting’s themes and symbolic stylization unite woman with the dream landscape. In Moreau’s words: This Isle of Fantastic Dreams encloses all the forms that passion, caprice and fancy take in women.
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THE ARTIST, THE DEVIL AND THE DANDY
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Şos. Panduri 90-92, Bucureşti - 0
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TABLE OF CONTENTS INTRODUCTION ....
Page 10 and 11:
10 The cornerstone of Wilde’s and
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12 he can only reproduce the fragme
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14 Nature’s lack of design, her c
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16 ˝imagination could provide a mo
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18 to an English tavern, as to visi
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20 different kind of beauty which w
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22 Art which deals with vice and pe
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24 the most perfect pleasure simply
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26 Courtisane. In ˝The Decay of Ly
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28 paintings at the Salon of 1889 e
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30 singular hallucinations of the f
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32 there is nothing really beautifu
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CHAPTER 1 DANDYISM Le dandy suprêm
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36 beautiful things. Wilde’s most
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38 toward the ideal in form and mor
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40 to be obvious is to be inartisti
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42 ˝Sorry to hear it, Tuppy; whene
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44 Symons, too, often focusses on a
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46 in art that the body is the soul
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48 Lord Henry exclaims, ˝I love ac
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50 abnormal (which is of course a p
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52 significant, not what the mask h
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54 The bifurcation between the inte
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56 Indeed Wilde was to write that
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58 the funeral, Pierrot gravely mee
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60 Plusieurs de ses affiches l’at
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62 often manifests evil. He is para
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64 that there should be an observer
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66 The very sharpness of the contra
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68 enables man to best express his
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CHAPTER II SATANISM Certain attainm
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72 entitled ˝La Révolte˝ (and in
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74 (perversity, for example) are go
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76 This concern with sin in both Wi
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78 mysticism to base satanism,˝ we
Page 80 and 81: 80 These demonic Pierrots remind on
Page 82 and 83: 82 crude commercialism of America,
Page 84 and 85: 84 satanism. In Les Diaboliques Bar
Page 86 and 87: 86 and the eternal pathos of the hu
Page 88 and 89: 88 the artist. The Manicheism evinc
Page 90 and 91: 90 ages that are being dealt with:
Page 92 and 93: 92 being suspended between two worl
Page 94 and 95: 94 feminine mystery. Moreau encapsu
Page 96 and 97: 96 play, Salomé is explicitly iden
Page 98 and 99: 98 Jokanaan, ˝and thou didst fill
Page 100 and 101: 100 decadent rejection of reality a
Page 102 and 103: 102 Such misogynistic sentiments ar
Page 104 and 105: 104 her, but observes that this des
Page 106 and 107: 106 decadent predilection for the d
Page 108 and 109: 108 réfugier dans la pénitente ad
Page 110 and 111: CHAPTER III DREAMS AND FANTASY Sugg
Page 112 and 113: 112 considered as a potential mothe
Page 114 and 115: 114 eternity in a moment. Huysmans
Page 116 and 117: 116 aux cimes des échalas, aux pie
Page 118 and 119: 118 Huysmans so admired entitled hi
Page 120 and 121: 120 Thematically, the dream enabled
Page 122 and 123: 122 as well as an affirmation of th
Page 124 and 125: 124 which no real voice has ever pi
Page 126 and 127: 126 Huysmans also identified Moreau
Page 128 and 129: 128 the obvious precursor of this t
Page 132 and 133: 132 Woman, in her primal essence, a
Page 134 and 135: 134 He gazes at the . . . spaces in
Page 136 and 137: 136 voyages by decorating his room
Page 138 and 139: 138 maddened by desire, crazed by a
Page 140 and 141: 140 Perhaps more than any other art
Page 142 and 143: 142 creation of the self or the exp
Page 144 and 145: 144 Redon not only focussed on the
Page 146 and 147: 146 direct translation or interpret
Page 148 and 149: 148 Jacques awakens and the dream i
Page 150 and 151: 150 Esther éclatât comme une myst
Page 152 and 153: 152 autres se présentaient aussit
Page 154 and 155: 154 The Surrealists took this a ste
Page 156 and 157: 156 stimulating him, then inducing
Page 158 and 159: 158 workings of the mind and psycho
Page 160 and 161: 160 CHAPTER IV ART AND ARTISTS Art
Page 162 and 163: 162 and Huysmans’ repeated emphas
Page 164 and 165: 164 unconscious work. I wrote it wi
Page 166 and 167: 166 which the unity of the book is
Page 168 and 169: 168 Que le style n’est en art qu
Page 170 and 171: 170 admiration for the purely decor
Page 172 and 173: 172 Huysmans speaks approvingly of
Page 174 and 175: 174 ˝What is true about music,˝ W
Page 176 and 177: 176 intellectually and emotionally
Page 178 and 179: 178 wonderfully beautiful figures r
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180 of thought and emotion and auto
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182 nouveau.˝ 478 Wilde similarly
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184 In his art criticism Huysmans h
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186 the masses. However, he similar
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188 comprehensible only to minds sh
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190 the one means to escape and mom
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192 It is telling that Wilde in ˝T
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194 than exclusively subject matter
Page 196 and 197:
196 Pater’s essay on Coleridge, p
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198 the decadent loathing of what h
Page 200 and 201:
200 In Flaubert’s case, there was
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202 foreground. In ˝Salome Dancing
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204 Esseintes-more real than the pa
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206 beyond descriptive ones.˝ 528
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208 yeux obstinément fermés, j’
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210 because they were suggestive. U
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212 an ˝oeuf resté constamment ma
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214 salauderie populacière et de g
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216 d’analyste tout à la fois cr
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218 Manifestly, then, Wilde and Huy
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220 extinction, and by definition d
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222 ˝Why does she look at me with
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224 be quiet at all until she had h
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226 albeit, ˝de fautes surhumaines
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228 artistic success immensely. I o
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230 part for such interest. It is a
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232 unity was attained through the
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234 in the hands of a unique temper
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236 their effects. For this reason,
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238 thrust, which draws the eye fro
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CHAPTER V CONCLUSION ˝Modern life
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242 Wilde’s and Huysmans’ work
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268 582 Huysmans, Against Nature, p
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270 Camus, Albert. Discours de Sué
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272 ---˝Notice˝ in Les Fleurs du
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274 Maignon, Charles. L’Univers A
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276 Schopenhauer, Arthur. The World
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278 Tiparul s-a executat sub cda 20
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282 22 Ibid., p. 75. 23 Ibid., p. 7
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284 Chapter One: Dandyism 72 Charle
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286 115 The Complete Works of Oscar
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288 168 J. K. Huysmans, Croquis par
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290 215 Huysmans, Certains, p. 78.
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292 265 Arthur Symons, The Symbolis
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294 Chapter Three: Dreams and Fanta
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296 352 J. K. Huysmans, L’Art mod
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298 406 Ibid. 407 Ibid., p. 66. 408
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300 456 Huysmans, En Marge, p. 133.
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302 504 Ibid. 505 Ibid., p. 1048. 5
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304 555 The Complete Works of Oscar
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Christa Giles

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