Christa Giles

195
Manifestly then, a relativistic approach in the face of
such art was thought by Wilde and Huysmans to be an
intrinsically modern attitude and the hallmark of the critic.
It enabled the critic to relate to the work on an imaginative
level in terms of its form and pattern, thereby allowing him
to appreciate the work whatever the subject (such as evil),
however far removed from his own experience. This
recognition of the complexity of art and its mystery was
also articulated at the time by Redon in his diary A soi-
même. Once again the emphasis is placed on the observer as
it is his mental state which determines what will be seen:
Le sens du mystère c’est d’être tout le temps
dans l’équivoque, dans le double, triples
aspects des soupçons d’aspects (images dans
images), formes qui vont être, ou qui le seront
selon l’état d’esprit du regardeur. 511
In effect, Huysmans and Wilde did not identify
themselves exclusively with any particular group but
instead supported and praised individual artists whether
they were Impressionists, Symbolists, decadent, or
decorative artists. For whatever artist’s work sparks the
critic’s imagination is worthy; it must simply bring a ˝new
element of pleasure˝ and suggest a ˝fresh departure.˝ 512 In