Posts tagged with ‘decadence

decadence
1540s, from M.Fr. decadence (early 15c.), from M.L. decadentia “decay,” from decadentem (nom. decadens) “decaying,” prp. of decadere “to decay,”from L. de- “apart, down” + cadere “to fall” (see case (1)). Used of periods in art since 1852, on French model.

Since my post on Rippl-Ronai I’ve been reading more about Les Nabis, and I wanted to share some interesting tid-bits on another artist associated with that group of French avant-gardists: Odilon Redon. Redon gained recognition after the publication of Karl Huysmans’ controversial novel Au Rebours (1884); the novel featured a decadent, aristocratic character who collected Redon’s art work (just a side note: Oscar Wilde’s novel The Picture of Dorian Gray is said to have been inspired by Huysman’s novel).

Huysmans was a fan of Redon’s work, and he recounted his impressions of the artist’s surreal imaginings: “These drawings defied classification; unheeding, for the most part, of the limitations of painting, they ushered in a very special type of the fantastic, one born of sickness and delirium.” After the publication of Huysmans’ novel, Redon became closely associated with the Decadent movement in Europe.

Initially, Redon worked only in black charcoal, which gave his pieces a macabre, nightmarish quality. In his early career, he depicted bizarre creatures with large heads and black, penetrating eyes. His style changed dramatically in the 1890’s when he turned to bright pastels and began to favor still-lifes and portraits. Despite the change in style, Redon’s work remained innovative, and many of the early twentieth century surrealists counted Redon among their precursors.  

There are several excellent books out there on Redon’s work, including: Beyond The Visible: The Art Of Odilon Redon and The Graphic Works of Odilon Redon (Dover Pictorial Archive Series). Huysman’s novel is also a definite must-read for those interested in decadent literature: Against Nature (A Rebours) (Penguin Classics).    

What decadence in literature really means is that learned corruption of language by which style ceases to be organic and becomes, in the pursuit of some new expressiveness or beauty, deliberately abnormal.
Arthur Symons, Essay on Meredith (1887)

10 Must-Read Literary Works of the Decadent Movement:

Or, What Every Modern Decadent Should Have on Their Bookshelf:

  1. Theophile Gautier, Mademoiselle De Maupin: A Romance of Love and Passion (1887); novel, 1835.
  2. Charles Baudelaire, The Flowers of Evil (Classic Reprint); poetry, 1857.
  3. Gustave Flaubert, Salammbo; novel, 1862.
  4. Jules Barbey d’Aurevilly, Les Diaboliques; short stories, 1874.
  5. Emile Zola, Nana (Oxford World’s Classics); novel, 1879.
  6. Joris-Karl Huysmans, Against Nature (A Rebours) (Penguin Classics); novel, 1884.
  7. Richard Krafft-Ebbing, Psychopathia Sexualis; psychology (not technically “literary,” I suppose), 1886.
  8. Rachilde, Monsieur Venus: Roman Materialiste (Texts and Translations) (French Edition); novel, 1889.
  9. Oscar Wilde, The Picture of Dorian Gray; novel, 1891.
  10. Oscar Wilde; Salome: illustrations by Aubrey Beardsley; drama, 1894.

This could easily be a much longer list! What would be on your list?

Music: ‘Till The End’ © Glenn Maltman. Images: a tribute to various artists in homage to the books ‘Dreamers of Decadence’ & ‘The Symbolists’ by Philippe Jullian. (via: Andy Paciorek).

Oscar Wilde’s The Sphinx, 1894. Illustrated by Charles Ricketts.
Perhaps the most beautiful book designed in the 1890s, The Sphinx is a tour de force of decadent style. Wilde’s elaborate poem inspired Charles Ricketts’ type design, use of three muted colors of ink - cinnamon, forest, and black - and his exquisite woodcut illustrations. Ricketts and his lover Charles Shannon were members of Wilde’s circle and Wilde was a frequent visitor to their studio, The Vale. Basil Hallward’s studio in the opening scene of The Picture of Dorian Gray is modeled after their studio. [ftp]
(via: frenchtwist)

Oscar Wilde’s The Sphinx, 1894. Illustrated by Charles Ricketts.

Perhaps the most beautiful book designed in the 1890s, The Sphinx is a tour de force of decadent style. Wilde’s elaborate poem inspired Charles Ricketts’ type design, use of three muted colors of ink - cinnamon, forest, and black - and his exquisite woodcut illustrations. Ricketts and his lover Charles Shannon were members of Wilde’s circle and Wilde was a frequent visitor to their studio, The Vale. Basil Hallward’s studio in the opening scene of The Picture of Dorian Gray is modeled after their studio. [ftp]

(via: frenchtwist)

The ground of the superiority of hand-wrought good, therefore, is a certain margin of crudeness. This margin must never be so wide as to show bunging workmanship, since that would be evidence of low cost, nor so narrow as to suggest the ideal precision attained only by the machine, for that would be evidence of low cost… The objection to machine products is often formulated as an objection to the commonness of such goods. What is common is within the (pecuniary) reach of many people. Its consumption is therefore not honorific, since it does not serve the purpose of a favourable invidious comparison with other consumers. Hence the consumption, or even the sight of such goods, is inseparable from an odious suggestion of the lower levels of human life, and one comes away from their contemplation with a pervading sense of meanness that is extremely distasteful and depressing to a person of sensibility.
Thorstein Veblen in The Theory of the Leisure Class(1899) (via: Introducing the Poorgeoisie: nachtseite: my-ear-trumpet: fuckyeahvictorians)
Gandalf’s Gallery: Aubrey Beardsley - Dreams [1894].
(via: ghoulnextdoor)
How inferior the human machine is, compared to man-made machines. They can be decoked, unscrewed, oiled and parts replaced. Decidedly, nature is not a very wonderful thing.
Joris Karl Huysmans, Against the Grain (A Rebours), 1884.

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