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Joséphin Péladan

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Joséphin Péladan A quintessential aspect of aesthetic modernism in the nineteenth century is that it produced not only a body of artworks and a profusion of –isms, but also a body of institutions and a template of practices that, unlike the art itself, were accepted almost without protest by the European and American art public.1 As early as 01/10 the late nineteenth century, the field of exhibition-making also had isolated examples of figures similar to the independent curator of contemporary art – although, of course, without the institutional support that is usual today.2 One such “proto-curatorial” figure was Joséphin Péladan, who among other things was the founder and director of the Catholic Rosicrucian Beti Žerovc Order of the Temple and the Grail (L’Ordre de la Rose-Croix Catholique du Temple et du Graal) in Paris. In the 1890s, Péladan organized large Joséphin group exhibitions as the order’s main public events, in which he presented artists who had Péladan: A been selected in accordance with his very particular conceptions of art. Viewed from Proto-Curator? today’s perspective, he was a typical independent curator who, at every level and wherever present, defended his “particular position” in art, communicating it through his public image and lifestyle as well.3 ÊÊÊÊÊÊÊÊÊÊToday, Péladan is not well known for his curatorial work, not because he was so far ahead of his time that, say, his contemporaries did not understand him, but rather because, when it came to positioning himself successfully in art with an enduring place in history, he made several “mistakes.” Among other things, despite Péladan’s hard work and the genuinely large influence he enjoyed in his day, he did not do enough, and above all was not sufficiently c convincing, to ensure that he would be “right” in v o r art history. He did not persevere long enough in e Ž i his practice, he was not successful enough in t e ? assembling a coherent group of artists, and he B r Ê o 5 t was not well connected to the market. 1 a r 0 u 2 Furthermore, he was so extremely pompous and C h - c o so obviously contradictory that it made it r t a o r difficult for anyone to take up his cause openly m P A — and in earnest. Mario Praz described him as : 3 n 4 6 a heroic in intention and comic in results. Péladan # d l a l experienced a small revival in the late 1960s, a é n r P when symbolism as a movement again acquired u n i o j 5 h a certain general importance. Hippies, too, x p u é l s f found him interesting because of his strange - o e J attire, his fascination with magic and the Near East, his rejection of weapons, and the like. Péladan A brief look at the life of this bizarre, complex individual is needed if we want to understand his proto-curatorship and compare it with contemporary curatorial practices. Joseph Péladan (1858–1918), as he was originally called 03.10.15 / 16:37:21 EDT Alexandre Séon, Portrait of Joséphin Péladan, c. 1892. Oil on canvas. Museum of Fine Arts, Lyon. Félicien Rops, Frontispiece for the Joséphin Péladan book Le Vice suprême, 1884. Etching and aquatint. 03.10.15 / 16:37:21 EDT (he later changed his first name to Joséphin), promoted the Catholic faith. He believed that was born in Lyons in the family of the fervent while the church opposed sorcery, it was not Catholic journalist and mystic Louis-Adrien against magic and even supported it. The Péladan. He thus acquired his zeal for mysticism bombastic fanfare around the publication of his and Catholicism from his family, while his delight novel Le Vice suprême brought the occultist in costumes, mysteries, unusual rituals, and Stanislas de Guata to him, and together in 1888 pseudonyms (Sr Mérodack, among many they revived the Rosicrucian Order (L’Ordre de la others) was common among occultists and 03/10 Rose-Croix) in Paris. Philosophical differences artistic circles of the time. We need only recall, soon led to internal disputes, and at the start of for example, the group Les Nabis.6 Péladan the 1890s Péladan founded his own Catholic carefully crafted his external appearance: he Rosicrucian order, the Order of the Temple and wore long tunics, silk and lace, had long hair and the Grail. a long beard, and sported eye-catching, ÊÊÊÊÊÊÊÊÊÊThe members of the Order performed works provocative accessories. of mercy to prepare for the coming age of the ÊÊÊÊÊÊÊÊÊÊHe travelled in Italy as a young man, after Holy Spirit and, most importantly, sought an which he arrived in Paris filled with fervor and inner perfection that would allow them to live a loudly announced his mission in the press. contented life on a perverted earth. The main Among other things, in a review of the 1883 focal points of the Order’s work were aesthetic, Salon, he wrote: “I believe in the Ideal, in and its most visible public events were, in fact, Tradition, in Hierarchy.”7 In short, he declared exhibitions – art salons held regularly from 1892 war on every kind of realism. In 1884, he to 1897. These were typical oppositional published his first major literary work, the novel exhibitions, which proclaimed that, unlike the Le Vice suprême, which was followed not only by once-official Salon and similar contemporary art other novels but also many plays, articles, shows, they were presenting “true” art. This, of reviews, and scholarly works on art. He even course, meant art as it was understood by the published two travelogue-type books – La terre enthusiastic curator Péladan, who with great du sphinx (on Egypt) and La terre du christ (on the fervor and pomposity invited his chosen artists Holy Land) – and some esoteric “self- to exhibit.9 improvement” books, including books on becoming a magus and becoming a fairy. Among Péladan, the Proto-Curator his many other extraordinary accomplishments, What aspects, then, of Péladan’s manner of he claimed to have discovered a new location of exhibiting the art of his day make him seem so the tomb of Christ. He called his vast cycle of close to the modern-day curator? novels La décadence latine: his belief that the ÊÊÊÊÊÊÊÊÊÊThe first is, certainly, the simple fact that, corrupt and irreligious Latin race must fall quite unusually for his time, he decided to convey appears as a common thread and motto in most his philosophical and critical views and ideas of the works. The novels reflect his fear of about art not only in writing but also through democracy and the coming of the barbarians. c large group exhibitions. He evidently decided on v o They deal with mysticism and strange events, r the exhibition form because it allowed him to use e Ž and they are usually plotted around Péladan i other people’s works to illustrate and t e himself in the guise of a literary character. ? communicate his worldview, and the beliefs he B r Ê o 5 Péladan’s hero is always in pursuit of the Ideal, t was advocating. This understanding of the 1 a r 0 u for which he makes the greatest sacrifices and 2 exhibition makes his approach identical to that C h - c renounces everything worldly, as deeply o of today’s curators: an exhibition is not only a r t a o infatuated noblewomen try to seduce and r medium for showing art but also a vehicle that m P A — distract him. Only rarely is this formula can work toward a variety of goals, for instance, : 3 n 6 abandoned. Art is normally involved as well – its a encouraging social renewal. Apart from his love # d l a redeeming potential, the struggle for true art, l for art, what justified and confirmed Péladan in a é n r P and so forth. For example, in the novel his commitment to such work was his dedication u n i o j L’androgyne, Péladan promises to crusade h to a higher goal, the Catholic renewal of society. x p u é l s against all that is ugly, all that is vulgar, both in f This, to be sure, makes him ideologically distant - o his writing and in real life.8 To this end, he e J from contemporary curators’ commitment to advocates an indivisible art that can take us fight global capitalism or support politically back to the Catholicism of the Renaissance, correct views, but the principle is basically the which, he argues, produced the greatest number same. of masterpieces – the highest proof of the ÊÊÊÊÊÊÊÊÊÊBecause of this “utilitarian” attitude toward existence of God. exhibition-making, Péladan is, in fact, already a ÊÊÊÊÊÊÊÊÊÊDespite his enduring fascination with the typical curator with a particular position, one occult, Péladan was an idiosyncratic and that defines all his projects in a characteristic fanatical Roman Catholic who zealously way and stamps them with a distinctive mark. 03.10.15 / 16:37:21 EDT Turning things around a bit, we can say that by the guests were greeted with the prelude from enforcing his own ideas, dictating the messages, Wagner’s Parsifal as they entered. Among other using a characteristic “form” for his exhibitions, things, the opening also featured specially and choosing very specific artists, Péladan composed music by Erik Satie. This whole developed a distinct authorial style of curating in “circus” (excessive even for those days), which which his name alone informed viewers of what Péladan took in dead earnest, was just what the they could expect.
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