City University of New York (CUNY) CUNY Academic Works All Dissertations, Theses, and Capstone Projects Dissertations, Theses, and Capstone Projects 10-2014 Dynamics and Divisions at the Salons of The Rose-Croix: Statistics, Aesthetic Theories, Practices, and Subjects Mary Slavkin Graduate Center, City University of New York How does access to this work benefit ou?y Let us know! More information about this work at: https://academicworks.cuny.edu/gc_etds/385 Discover additional works at: https://academicworks.cuny.edu This work is made publicly available by the City University of New York (CUNY). Contact: [email protected] Dynamics and Divisions at the Salons of The Rose-Croix: Statistics, Aesthetic Theories, Practices, and Subjects By Mary Slavkin A dissertation submitted to the Graduate Faculty in Art History in partial fulfillment of the requirements for the degree of Doctor of Philosophy, The City University of New York 2014 © 2014 MARY CATHERINE SLAVKIN All Rights Reserved ii This manuscript has been read and accepted for the Graduate Faculty in Art History in satisfaction of the dissertation requirement for the degree of Doctor of Philosophy. ____________ ________________________________________ Professor Rose-Carol Washton Long, Chair of Examining Committee ____________ ________________________________________ Professor Claire Bishop, Executive Officer Professor Judy Sund Professor Emily Braun President Sharon Hirsh Supervisory Committee THE CITY UNIVERSITY OF NEW YORK iii Abstract Dynamics and Divisions of the Salons of The Rose-Croix: Statistics, Aesthetic Theories, Practices, and Subjects By Mary Slavkin Adviser: Rose-Carol Washton Long A variety of alternative Salons arose in France following the demise of the official Salon. Within this phrenetic climate for alternative exhibition venue creation, Joséphin Péladan founded the Salons of the Rose + Croix (1892-1897). He framed the Salons as ideologically unified exhibitions at which idealized works focusing on spirituality, tradition, and beauty would engender social reform by encouraging a decadent society to focus on timeless poetic and mystical ideas. Nevertheless, in practice the Rose + Croix functioned mainly as an exhibition venue for artists whose work only loosely responded to the established platform. The exhibited works reveal some overlap with Péladanřs mystical, idealized, and reformist aims, yet even the central ten exhibitors deviated from the leaderřs published mandates in myriad ways, showing that the Rose + Croix was not an ideologically united group. I determine the ten central exhibitors with statistical analysis of the salon catalogs and fifty contemporary reviews, moving beyond anecdotal considerations to base my conclusions on the ideas and production of the groupřs main affiliates. Péladanřs principles are clearly those of a writer attempting to direct artists. Rarely discussing specific techniques, he usually focused on subject matter and conceptual frameworks. The exhibiting artists built on many of his broader ideas, developing anti-naturalist methods to express their focus on eternal, mystical Ideas. Nevertheless, contemporary reviews and critical iv writings by Péladan and the artists reveal divergences between the platform and implementation in terms of: the relationship between art and life, the transformation of nature, and the influence of history and earlier artistic movements. Additionally, the artists associated with the group incorporated a range of religious and scientificŕor pseudo-scientificŕinfluences into their works, combining Catholic, Rosicrucian, and theosophical principles with optical science and psychology, especially theories about hysteria. The depictions of women and the highly varied literary illustrations and themes reveal that even in areas where Péladan issued specific guidelines, the exhibited works often deviated from his principles. The group also expressed conflicting attitudes toward women because at least five female artists exhibited works at the Salonŕviolating a central group tenet that outlawed womenřs participation. v For both of the Robins. vi Acknowledgements I am indebted to many people for their assistance in completing this dissertation. My adviser, Professor Long guided me throughout this process with her helpful advice, comments, suggestions, and especially, support. Professor Sund provided rigorous editing and many important suggestions for both my proposal and dissertation. I am also extremely grateful to the other members of my committee, Professor Emily Braun and President Sharon Hirsh. I would like to thank the Graduate Center for financially supporting me throughout my PhD and for funding my dissertation research in Paris. The staff at all of the museums, libraries, and archives where I researched were extraordinarily accommodating and provided valuable suggestions, especially those at the Bibliothèque de lřArsenal and the Bibliothèque Centrale des Musées Nationaux. Several scholars have been extremely helpful in meeting with me, responding to emails, and allowing me access to documents. I would especially like to thank Robert Doré for his insights on Armand Point. Additionally, Véronique Dumas and Jean-David Jumeau-Lafond provided useful insights and information. Scholars and colleagues at a variety of conferences where I have presented material related to this dissertation have asked important questions that have framed my thoughts on the Rose + Croix. Additionally, Britany Salsbury provided important edits and Timothy Wilson checked and strengthened my translations. My mother has always been extremely supportive, even though I rarely work on Ŗprettyŗ pictures! I would like to thank her for always listening and understanding. Susan has led the way and constantly shown me that with enough commitment and hard work, anything is possible. I would also like to thank Stephanie Chadwick for continually helping me rethink my vii topic, structure, and argument throughout the research process with our daily lunches at the François Mitterand. Those breaks helped keep me going and the many comments and edits she made throughout the process were always insightful. Her support and understanding of all of the ups and downs of this process also played a vital role in my progress. I would also like to thank my son for not arriving earlyŕhopefully he will always respond so well to academic deadlines and schedules! Finally, I would like to thank David for his humor, flexibility, willingness to listen, and many, many tasty dinners. viii Table of Contents: Abstract .......................................................................................................................................... iv Acknowledgements ....................................................................................................................... vii List of Tables ................................................................................................................................. xi List of Illustrations ........................................................................................................................ xii Abbreviations: ............................................................................................................................. xvii Introduction ..................................................................................................................................... 1 Chapter 1: Principle Figures, Group Dynamics, and other Alternative Venues ........................... 27 Key Leaders and Central Group Members ............................................................................... 28 The Role of the Artist: Conflicting Group Structures ............................................................... 35 Group Dynamics in the Context of other Alternative Venues .................................................. 42 Chapter 2: Dynamics and Divisions: Statistics, Critical Responses, and Leadership Roles ........ 54 Statistically Speaking: Critical Reviews, Duration, and Intensity ............................................ 54 Critical Divisions: ..................................................................................................................... 62 Conflicts: The Evolution of the Septenaire, Leadership Models, and Group Dynamics ......... 69 Chapter 3: Doctrinal Divisions, Social Reform, Nature, and the Past: ŖThe notorious exhibition program has necessarily been reducedŗ ........................................................................................ 86 CriticismŕConcessions and Castigation .................................................................................. 88 Art and Society: The Role of the Decorative .......................................................................... 102 The Natural World: Deformation and Idealization ................................................................. 115 The Past: Opposition and Reliance ......................................................................................... 128 Chapter 4: The ŖHigh Sciences:ŗ Hysteria, Astral Fluids, Symmetrical Diagrams, Optics, and Psychology .................................................................................................................................. 140 Overlapping and Competing Religious Realms ...................................................................... 144 Theories of Color, the ŖPsychology of Nature,ŗ and the ŖSymbolism of Tintsŗ .................... 160 Hysteria and Hypnotism: Visionary