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Light and Obscurity in Symbolism

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Light and Obscurity in Symbolism Light and Obscurity in Symbolism Light and Obscurity in Symbolism Edited by Rosina Neginsky and Deborah Cibelli Light and Obscurity in Symbolism Edited by Rosina Neginsky and Deborah Cibelli This book first published 2016 Cambridge Scholars Publishing Lady Stephenson Library, Newcastle upon Tyne, NE6 2PA, UK British Library Cataloguing in Publication Data A catalogue record for this book is available from the British Library Copyright © 2016 by Rosina Neginsky, Deborah Cibelli and contributors All rights for this book reserved. No part of this book may be reproduced, stored in a retrieval system, or transmitted, in any form or by any means, electronic, mechanical, photocopying, recording or otherwise, without the prior permission of the copyright owner. ISBN (10): 1-4438-8512-6 ISBN (13): 978-1-4438-8512-6 TABLE OF CONTENTS List of Illustrations ..................................................................................... ix Introduction ................................................................................................. 1 Rosina Neginsky PART ONE: Architecture and Stained Glass Chapter One ............................................................................................... 10 Symbolist Aspects of Macintosh’s Architecture Larry Shiner Chapter Two .............................................................................................. 18 Symbolist Interiors: Figures, Light, and Colors in Early Twentieth- Century Italian Stained Glass Lucia Mannini PART TWO: Visual Arts Chapter Three ............................................................................................ 36 The Symbolist Path of Armand Point Robert Dore Chapter Four .............................................................................................. 53 Light and Shadow in The Dream by Odilon Redon Joelle Joffe Chapter Five .............................................................................................. 62 A Flight from Colour: the Aesthetics of Black and White in Polish Symbolism Irena Kossowska Chapter Six ................................................................................................ 87 Fantastic Nature: Associations Between Paul Klee and Odilon Redon Jonathan Perkins vi Table of Contents PART THREE: Visual Arts, Literature and Philosophy Chapter Seven .......................................................................................... 100 The Duality of Light in Rossetti’s Ekphrastic Poems and Paintings Deborah H. Cibelli Chapter Eight ........................................................................................... 117 The Ideal and Matter: Gustave Moreau’s Ambiguous Dualities Peter Cooke Chapter Nine ............................................................................................ 132 Edward Burne-Jones’ The Sirens: Sea Muses of Enchanted Music Liana De Girolami Cheney Chapter Ten ............................................................................................. 156 The Soul of Things: Henri De Brakeleer as a Forerunner of the Treatment of Light in Belgian Symbolism Alison Hokanson Chapter Eleven ........................................................................................ 175 Isis’ Fingertips: A Symbolist Reading of Lévy-Dhurmer’s Silence Liesbeth Grotenhuis Chapter Twelve ....................................................................................... 209 Apollo’s Triumph. The Notion of Art for Art’s Sake at the Center of Nietzsche and Redon’s Parallel Shifts from Darkness to Light François Lachance-Provençal Chapter Thirteen ...................................................................................... 218 The Androgyne, the Transvestite and the Herm: Aubrey Beardsley’s Hybrid Forms for the Yellow Book, Volume III Britten LaRue Chapter Fourteen .................................................................................... 252 Reflections of Mallarmé: A Comparative Study of Manet’s A Bar at the Folies-Bergère Marguerite Li Bassi Light and Obscurity in Symbolism vii Chapter Fifteen ........................................................................................ 270 From “Fuoco” to “Notturno” The Interpretation of Light and Shade in D’Annunzio’s Work by his Friends Among Italian Symbolist Illustrators Anna Mazzanti Chapter Sixteen ....................................................................................... 294 A Double Nature of Beheadings: Moreau and Redon Rosina Neginsky PART FOUR: Sculpture Chapter Seventeen .................................................................................. 306 Art Between Luminous Fluidity and Expressionist Shading: Defining Symbolist Sculpture Using Modeling Dominique Jarrassé Chapter Eighteen ..................................................................................... 327 Light, Obscurity and Symbolist Themes in American Sculpture, 1890- 1920 Susan Martis PART FIVE: Literature Chapter Nineteen ..................................................................................... 340 Light and Darkness in Dostoevsky’s White Nights and Kafka’s “Hunger Artist” Brent R. Judd Chapter Twenty ....................................................................................... 348 Colored Lighting in the Poetry of Innokentij Annenskij Natalia Gamalova Chapter Twenty-One ............................................................................... 371 Anguish and Modernist Aesthetics Luba Jurgenson viii Table of Contents PART SIX: Music Chapter Twenty-Two ............................................................................... 384 Symbolic Touch in the Playing of Debussy’s Piano Music Jean-Pierre Armengaud Contributors ............................................................................................. 392 LIST OF ILLUSTRATIONS Chapter Two Fig. 2-1. Historical photograph of a stained glass created by Jacques Gruber, ca. 1900. Fig. 2-2. Historical photograph of the Otto Wagner House in Vienna, ca. 1900 with stained glass, titled Vienna Woods in the Autumn, by Adolf Böhm. Fig. 2-3. Duilio Cambellotti, Fireflies, ca. 1920. Rome, Private Collection. Fig. 2-4. Photograph from an Italian stained glass manufacturer’s catalogue, early 20th century. Fig. 2-5. Title page of the magazine La Casa. Fig. 2-6. Illustration of a villino from the magazine La Casa. Fig. 2-7. Duilio Cambellotti, Grapevines, 1914-1915. Rome, Museo della Casina delle Civette. Fig. 2-8. Illustration of a Roman exterior with wisteria, from the magazine La Casa. Fig. 2-9. Umberto Bottazzi, Butterflies in a photograph. Location unknown. Fig. 2-10. Vittorio Grassi, Fish in an historical photograph. Rome, private Collection. Fig. 2-11. Vittorio Grassi, Chopin Nocturno op. 48, n°1, ca. 1908. Sketch for the stained glass. Chapter Three Fig. 3-1. Armand Point, Self-portrait, 1882, charcoal on paper, 41 x 34 cm. Exhibition, Cincinnati, Ohio, The artist Face to Face, Self- portraits from Paris collection of Gérald Schurr, 1989. Robert Doré Collection. Fig. 3-2. Armand Point, Portrait d’Elémir Bourges, 1890, drawing with charcoal on cardboard, 37 x 27 cm. Exhibition Esthètes et Magiciens, Paris, Musée Galliéra, 1970. Private Collection (Photo Credit: Private owner). Fig. 3-3. Armand Point, Tête de rêve, drawing, circa 1892, 32 x 25 cm. Salon de la Rose+Croix 1893, Sale, London, Sotheby's, XIXth century- x List of Illustrations European paintings, drawings, 2nd March 1987 (Photo Credit: Private owner). Fig. 3-4. Armand Point, Virginité, 1893, pastel, 70 x 50 cm. Exposition internationale de Peinture et Sculpture, Paris, Galerie Georges Petit, 1893. Private Collection (Photo Credit: Private owner). Fig. 3-5. Armand Point, Jeune femme à la toque verte, 1905, painting, 56 x 46 cm. Sale, London, Sotheby's, 20th June 1984. Courtesy of Sotheby’s, Inc. 1984. Fig. 3-6. Armand Point, Salomé [dansant] (crayon noir), drawing with black pencil, circa 1898, 92 x 73 cm. Vente judiciaire, Fontainebleau, Atelier du peintre Armand Point, 6 et 7 novembre 1932. Exposition Armand Point, Paris, Galerie Georges Petit, 1899. Exposition Armand Point, Paris, Galerie Coligny, 1981. Exposition, Paris, de Bayser, Dessins tableaux sculptures, 4 novembre 2011. Private Collection (Photo Credit: Private owner). Fig. 3-7. Armand Point, Symphonie du soir, 1893, oil on canvas, 87 x 5 cm. Exposition internationale de Peinture et Sculpture, Paris, Galerie Georges Petit, 1893. Fig. 3-8. Armand Point, La Sirène, 1897, oil on canvas, frame designed by the artist, 92 x 73 cm. Salon de l'Art idéaliste, Bruxelles, 1898. Exposition Armand Point, Paris, Galerie Georges Petit, 1899. Exposition, Les Salons de la Rose+Croix, London, 1968. Exposition, Toronto, The sacred and profane in Symbolist art, 1969. Exposition, Symbolists, New York, Spencer A. Samuels and Company, 1970. Exposition French Symbolist Painters, London, 1972. Fig. 3-9. Armand Point, La rose des ruines (peinture), 1928, oil on canvas, 121 x 97 cm. Exposition Armand Point, Paris, Galerie Georges Petit, 1929. Fig. 3-10. Armand Point, Ancilla Domini, 1895, egg painting on panel, 99 x 51 cm. Salon de la Rose+Croix, 1896. Exposition Armand Point, Paris, Galerie Georges Petit, 1899. Courtesy of Sotheby’s, Inc. 1989. Fig. 3-11. Armand Point, La Fée du lac, 1895, charcoal and pastel, 54 x 37 cm. Exposition Armand Point, Paris, Galerie Coligny, 1981. Fig. 3-12. Armand Point, Légende dorée (chromolithographie), 1897, 30 x 39 cm. Appeared in L’Estampe moderne, September 1897. Fig. 3-13. Armand Point, Psyché [au bain], 1916, oil on canvas, 98 x 71 cm. Mairie-musée
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