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Specularity in Late Nineteenth-Century French Literature and Art

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Specularity in Late Nineteenth-Century French Literature and Art University of New Orleans ScholarWorks@UNO University of New Orleans Theses and Dissertations Dissertations and Theses 8-8-2002 Specularity in Late Nineteenth-Century French Literature and Art Marguerite LiBassi University of New Orleans Follow this and additional works at: https://scholarworks.uno.edu/td Recommended Citation LiBassi, Marguerite, "Specularity in Late Nineteenth-Century French Literature and Art" (2002). University of New Orleans Theses and Dissertations. 4. https://scholarworks.uno.edu/td/4 This Thesis is protected by copyright and/or related rights. It has been brought to you by ScholarWorks@UNO with permission from the rights-holder(s). You are free to use this Thesis in any way that is permitted by the copyright and related rights legislation that applies to your use. For other uses you need to obtain permission from the rights- holder(s) directly, unless additional rights are indicated by a Creative Commons license in the record and/or on the work itself. This Thesis has been accepted for inclusion in University of New Orleans Theses and Dissertations by an authorized administrator of ScholarWorks@UNO. For more information, please contact [email protected]. SPECULARITY IN LATE 19th CENTURY FRENCH LITERATURE AND ART A Thesis Submitted to the Graduate Faculty of the University of New Orleans in partial fulfillment of the requirements for the degree of Master of Arts in Romance Languages by Marguerite Cappo Li Bassi B.A., University of New Orleans, 1997 August 2002 Copyright 2002, Marguerite Cappo Libassi ii ACKNOWLEDGEMENTS The unusual structure of this thesis might be compared, with modesty, to Stéphane Mallarmé’s methodology. It is an expansion of one “aha!” moment, following which--in his case, words light up each other unpredictably to build a poem--in my thesis, ideas reflect each other to build its thematic schema of mirror-mimesis. Now is the moment to acknowledge three professors whose guidance helped me negotiate the uncharted labyrinth of instinctive beliefs that I held in regard to specularity in literature and art. It is through their good offices that the present work materialized into coherent expression. The seminal ideas that gestated this work began some years ago in the instruction of Dr. John Williams to whom I am indebted for my literary love affair with Baudelaire, Mallarmé, and Flaubert, as well with many of the illustrious littérateurs et penseurs français who preceded them. Without the unfailing encouragement and moral support of my graduate advisor, Dr. George Wolf, I would not now have this privilege to express my gratitude for his scholarly guidance, patient ear, erudite mentoring and enthusiasm for this project. For her criticism of all matters concerning art as well as for her incisive comments, innovative suggestions and careful reading of the text, I wish to thank Dr. Isabelle Wallace. Merci mille fois to Jim Richard, Professor of Fine Arts, who supported the development of my thesis into a series of paintings: La Naissance de Vénus, 2002. iii ABBREVIATIONS B.É. Baudelaire, Écrits sur l’art B.F.M. Baudelaire, Les Fleurs du Mal B.O.C.M. Bataille, Oeuvres Complètes, Manet C.M. Cachin, Manet C.P.M.L. Clark, Painting of Modern Life D.F.P.P. Denommé, French Parnassian Poets D.M. Darragon, Manet D.P.S.M. Durand, Poésies de Stéphane Mallarmé E.E.P. Eitner, An Outline of 19th Century European Painting F.M. Fowlie, Mallarmé F.M.M. Fried, Manet’s Modernism G.A.A. Gay, Art and Act G.F.L.T. Guthrie, French Literature and Thought G.P.A. Goncourt, Paris and the Arts, 1851-1896 H.B.M. Higonnet, Berthe Morisot H.E.M. Hanson, Édouard Manet H.M.C. Hamilton, Manet and his Critics H.M.T. Hanson, Manet and the Modern Tradition L.L.F.A. Lethève, Daily Life of French Artists M.A.P. Mainardi, Art and Politics of the Second Empire iv M.É. Mallarmé, Écrits sur l’art M.M. Michaud, Mallarmé N.I.P.I. Nochlin, Impressionism and Post-Impressionism 1874-1904 P.M. Perruchot, Manet P. P. A Painter’s Poet: Stéphane Mallarmé and his Impressionist Circle R.B.F.B. Ross, Manet’s Bar at the Folies-Bergère R.G.S.L. Rand, Manet’s Contemplation at the Gare Saint-Lazare S.W.M. Schneider, World of Manet Z.P.M. Zola, Pour Manet v TABLE OF CONTENTS Copyright--------------------------------------------------------------------------------------------ii Acknowledgements--------------------------------------------------------------------------------iii Abbreviations --------------------------------------------------------------------------------------iv List of Illustrations--------------------------------------------------------------------------------vii Abstract -------------------------------------------------------------------------------------------viii Preface: Cadre of political events that affected late 19th century literature and art--------1 Cadre: Baudelaire and Manet, connoisseurs of la vie moderne - ----------------------------7 Dialogue between Manet and Baudelaire, habitués of the Tuileries ------------------------9 Cadre: “Manet’s gang” a.k.a. “les Batignollais” ---------------------------------------------- 27 Dialogue at Café Guerbois and Café de la Nouvelle-Athènes, spanning 1869 to 1882---31 Cadre: The new studio -----------------------------------------------------------------------------73 Dialogue in Manet’s new studio en plein Paris, 1873-74 -------------------------------------78 Cadre: Manet and Mallarmé, a decade of friendship, affection, conversation ------------ 100 Dialogue in which Manet, Mallarmé and friends discuss two controversial paintings, one shown in the Salon of 1874, the other in the Salon of 1882 --------------------------- 106 Epilogue ------------------------------------------------------------------------------------------- 151 Biographical Notes -------------------------------------------------------------------------------161 Bibliography -------------------------------------------------------------------------------------- 186 Plates------------------------------------------------------------------------------------------------193 Vita -------------------------------------------------------------------------------------------------208 vi LIST OF ILLUSTRATIONS Plates I Édouard Manet, La Musique aux Tuileries, 1863 II Henri Fantin-Latour, Un atelier aux Batignolles, 1870 III Édouard Manet, Déjeuner sur l’herbe, 1863 IV Édouard Manet, Olympia, 1865 V Alexandre Cabanel, Naissance de Vénus, 1863 VI Édouard Manet, Portrait de Berthe Morisot étendue, 1873 VII Édouard Manet, Portait de Stéphane Mallarmé, 1876 VIII Édouard Manet, Le Repos (Berthe Morisot), 1873 IX Édouard Manet, LeBal masqué à l’Opéra, 1874 X Édouard Manet, Le Chemin de fer (Gare Saint-Lazare), 1874 XI Édouard Manet, Un Bar aux Folies-Bergère, 1882 XII Yosumasa Morimura, Daughter of Art History (Theater A), 1990 XIII Yosumasa Morimura, Daughter of Art History (Theater B), 1990 XIV Helmut Newton, Nude, 2000 XV Jeff Wall, Picture for Women, 1979 vii ABSTRACT In the mid-to-late 1800s, French writers and artists resolved to shed their Romantic skins in favor of new self-conscious “husks”--to borrow Baudelaire’s poetic term--that is to say: Naturalism, Realism, Impressionism and Symbolism. Some of the older reformers found themselves in an awkward, transitional stage contrary to the younger vanguardists who bore no allegiance to the past. The first group included Baudelaire, Flaubert, Courbet, Manet, Degas and Pissarro while the latter listed among its most successful members: Zola, Mallarmé, Huysmans, Morisot, Monet, Renoir and Cézanne. This thesis argues that specularity--a sort of mirror mimesis--was part of the fertile, artistic exchange between these representative writers and artists who shaped nineteenth century French literature and plastic arts during a period of turbulent social and political change. It is important not to conventionalize specular-mimesis into an automatic looking glass response between literature and art. Its primary function in this thesis is to single out, investigate and inter-relate literary and artistic chefs-d’oeuvre which, at times, bear remarkably similar hallmarks, for one reason or another. Given that cultivated conversation was highly esteemed by the Parisian bourgeoisie and held to be an elegant art form by salon and soirée intellectuals, four Dialogues constitute the internal structure of this paper. Each Dialogue is preceded by its own Cadre which serves to introduce and familiarize the reader, using a mise-en-scene framework, with background information that supports the discourse. viii 1 Preface: Cadre of political events that affected late 19th century literature and art French artists and writers benefited from the great promise of autonomy and individual liberty idealized by the French Revolution as every citizen’s inherent right.1 Robespierre and his henchmen knew only too well the power of a controlled system of public communication as represented by a biased media mix of plastic arts combined with talented writers.2 The cunning leader of the Comité de Salut public deftly manipulated the paintings of David and the radical harangues of Marat and Saint-Just to suit his own terrorist’s purposes.3 During the periods of the Consulate and the subsequent First Empire, the artists were ousted from the Louvre, ostensibly to make room for the art looted from Italy.4 During the dynastic changes that took place in the final decades of the 19th Century, the reigning parties of the moment, notably those of Louis-Philippe’s aristocracy of the cash box (1830-1848), and Napoléon III’s
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