Christa Giles

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160 CHAPTER IV ART AND ARTISTS Art is opposed to general ideas, it describes only the individual, wishes only for the unique…It does not classify, it declassifies. Marcel Schwob
161 Both Wilde’s and Huysmans’ work has its foundation in a series of inescapable paradoxes which issue from their view of the interrelationship between life and art. Art is the fulcrum from which all values are derived yet paradoxically art would deny the very life that it relies upon. Thus, in The Picture of Dorian Gray, when Basil remarks that ˝Love is a more wonderful thing than Art,˝ Lord Henry responds, ˝They are both simply forms of imitation.˝ 429 Life becomes real and meaningful only when perceived within an aesthetic framework. It is in part for this reason that Wilde and Huysmans embrace and write about all the arts (but in particular literature and painting) and see them as closely related. Huysmans spent three years between the publication of the naturalist novel En Ménage (1861) and A rebours (1884) writing art criticism. His best work appeared in Le Voltaire, La Reforme, and La Revue littéraire et artistique. In 1883, most of these articles were collected in one volume, L’Art Moderne. He also wrote articles on Cézanne, Degas, Moreau, Whistler, Rops, Van Luyken, Goya, Turner, and Richard Wagner, espousing artists who, although known, were not fully recognized. Wilde also expatiated at length on his ideas on the nature of art in his work. What is most striking in these essays on art and art criticism is Wilde’s
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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 ....
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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
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80 These demonic Pierrots remind on
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82 crude commercialism of America,
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84 satanism. In Les Diaboliques Bar
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86 and the eternal pathos of the hu
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88 the artist. The Manicheism evinc
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90 ages that are being dealt with:
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92 being suspended between two worl
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94 feminine mystery. Moreau encapsu
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96 play, Salomé is explicitly iden
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98 Jokanaan, ˝and thou didst fill
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100 decadent rejection of reality a
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102 Such misogynistic sentiments ar
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104 her, but observes that this des
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106 decadent predilection for the d
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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 130 and 131: 130 frowned and looked very severe,
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 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
Page 180 and 181: 180 of thought and emotion and auto
Page 182 and 183: 182 nouveau.˝ 478 Wilde similarly
Page 184 and 185: 184 In his art criticism Huysmans h
Page 186 and 187: 186 the masses. However, he similar
Page 188 and 189: 188 comprehensible only to minds sh
Page 190 and 191: 190 the one means to escape and mom
Page 192 and 193: 192 It is telling that Wilde in ˝T
Page 194 and 195: 194 than exclusively subject matter
Page 196 and 197: 196 Pater’s essay on Coleridge, p
Page 198 and 199: 198 the decadent loathing of what h
Page 200 and 201: 200 In Flaubert’s case, there was
Page 202 and 203: 202 foreground. In ˝Salome Dancing
Page 204 and 205: 204 Esseintes-more real than the pa
Page 206 and 207: 206 beyond descriptive ones.˝ 528
Page 208 and 209: 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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