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035			_a(ATU)b10693804
035			_a(OCoLC)28853840
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043			_ae------ _aae-----
050	0	0	_aNX542 _b.S97 1994
082	0	0	_a700.9034 _220
245	0	0	_aSymbolist art theories : _ba critical anthology / _cedited by Henri Dorra.
264		1	_aBerkeley : _bUniversity of California Press, _c[1994]
264		4	_c©1994
300			_axix, 396 pages : _billustrations ; _c24 cm
336			_atext _btxt _2rdacontent
337			_aunmediated _bn _2rdamedia
338			_avolume _bnc _2rdacarrier
504			_aIncludes bibliographical references (pages 315-371) and index.
505	0	0	_tList of Illustrations -- _tAcknowledgments -- _tIntroduction -- _tPrologue: Baudelaire, Delacroix, and the Premises of Symbolist Aesthetics -- _tCorrespondences (c. 1852-56?) -- _g1. _tRomantic Symbolists -- _tHand and Soul (1850) -- _tOn His Beata Beatrix (1871) -- _tLetters to His Family (1854) -- _tPoems by William Morris (1868) -- _tMemories of Burne-Jones (1898) -- _tAn Early Appraisal of Puvis de Chavannes (1861) -- _tPierre Puvis de Chavannes (1886) -- _tGustave Moreau (1889) -- _tFine Arts: Odilon Redon (1882) -- _tExcerpts from To Oneself (1898-1909) -- _tOdilon Redon (1894) -- _tA Symbolist Painter: Fernand Khnopff (1887) -- _tThe Ten O'Clock Lecture (1885) -- _tBocklin's Villas by the Sea (1895) -- _tConversations with Paul Gsell (1911) -- _g2. _tDecorative Arts and Architecture -- _tGleanings from the Great Exhibition (1851) -- _tThe Decorative Arts in Modern Life (1877) -- _tThe Spiritual in Art (1884) -- _tIn Defense of the Tower (1887) -- _tAt the Universal Exhibition (1889) -- _tOrnament in Architecture (1892) -- _tA Clean Sweep for the Future of Art (1894) -- _g3. _tLiterary Symbolism -- _tBaudelaire and the Decadent Movement (1881) -- _tThe Art of Poetry (1874) -- _tThe Unsettling of All the Senses (1871) -- _tInterview with Stephane Mallarme (1891) -- _tSmall Talk - the Theater (1890) -- _tNotes on Wagnerian Painting (1886) -- _tA Literary Manifesto - Symbolism (1886) -- _g4. _tThe Post-Impressionists -- _tNeo-Impressionism (1887) -- _tAesthetic and Technical Note (1890) -- _tIntroduction to a Scientific Aesthetics (1885) -- _tSeurat (1891) -- _tAnarchist Sympathies (1894) -- _tCloisonism (1888) -- _tEnsor's Vision (1908) -- _tLetters to Emile Schuffenecker (1885, 1888) -- _tSymbolism in Painting: Paul Gauguin (1891) -- _tLetter to Andre Fontainas (1899) -- _tLetters on The Night Cafe (1888) -- _tThe Lonely Ones - Vincent van Gogh (1890) -- _tCezanne (1888) -- _tExcerpts from His Letters (1904, 1906) -- _tNabi Principles (1889) -- _tThe Nabis in 1890 -- _tThe "Saint-Cloud" Manifesto (1889-90?) -- _tThe Mission of the Artist (1897) -- _g5. _tThe Artists of the Soul -- _tThe Salons of 1895 -- _tMaterialism in Art (1881) -- _tIn Search of the Holy Grail (1888) -- _tFlorence, Botticelli, La Primavera (1896) -- _tThe Artists of the Soul (1896) -- _tEpilogue: Formalist Criticism and Harbingers of Surrealism -- _tPost Impressionism (1911) -- _tThe French Post-Impressionists (1912) -- _tCezanne's Pure Form (1914) -- _tThe Funeral of Style (1902) -- _tThe Dissociation of Ideas (1900) -- _tBarnum (1902) -- _tThe New Spirit and the Poets (1917-18) -- _tNotes -- _tIndex.
520			_aHenri Dorra, in his comprehensive new book, presents the development and the aesthetic theories of the symbolist movement in art and literature. Included are writings (many never before translated or reprinted) by artists, designers, architects, and critics, along with Dorra's learned commentary. Fifty photographs of symbolist works complement his encyclopedic coverage. Dorra traces symbolism and its roots from artist to artist and critic to critic from the mid-nineteenth to the early twentieth century. The decorative arts and architecture are examined as well as painting and sculpture. The Arts and Crafts movement, art nouveau, the work of Eiffel in France, and that of Sullivan in the United States are well represented.
520	8		_aThe close relations between symbolist poets and artists are reflected in the chapter on literary developments. Baudelaire, Rimbaud, Verlaine, and Mallarme are here, but so, too, are writers less well known. A section on the post-impressionists and the "artists of the soul" rounds out Dorra's rich and varied text, and his Epilogue lays the groundwork for what was to follow symbolism. Here Dorra discusses, on the one hand, the new trend toward abstraction and the related development of formalist criticism and, on the other, the new stress on interplay between the tangible and the intangible, fact and dream, that eventually led to surrealism.
520	8		_aDorra beautifully integrates the different aesthetic branches of symbolism, the different media, and national variations, without ever losing sight of the whole. The historical context provided makes this a particularly appealing collection for students and scholars of art history and literature, as well as for anyone interested in the evolution of symbolism.
588			_aMachine converted from AACR2 source record.
650		0	_aSymbolism (Art movement) _zEurope _9620406
650		0	_aArts, European _y19th century _9769765
700	1		_aDorra, Henri, _d1924-2002 _eeditor. _9404301
907			_a.b10693804 _b14-04-21 _c27-10-15
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