{symbolists} – Page 20 – { feuilleton }

Diaghilev’s World of Art

Cover by Evgeny Lanceray for Prospectus of the Magazine, 1901.

Previous posts here have concerned fin de siècle art magazines like The Savoy, Pan and Jugend; yesterday we had Sergei Diaghilev so it seems fitting to mention Diaghilev’s own magazine, Mir Iskusstva (World of Art), founded in 1899 with similar intentions to the European magazines which were highlighting developments in art beyond the academic sphere. Mir Iskusstva was also the name of the Russian art group who used the magazine as their forum, and a number of the artists involved in the movement, notably Léon Bakst, Ivan Bilibin and Nicholas Roerich, went on to work for Diaghilev at the Ballets Russes.

Cover by Léon Bakst for Mir iskusstva #8 (1902).

I find this later development especially fascinating since it positions the magazine as a precursor to the groundbreaking works which followed rather than being—as so many periodicals were and still are—a publication which had its moment of glory then faded from view. Of the works shown here, Vrubel’s Symbolist Demon, one of several painted by the artist, was featured in a 1903 edition of the magazine, whilst the Bakst painting, depicting the destruction of Atlantis, shows a Symbolist side to an artist who later became far better known for his Ballets Russes costume designs.

Demon (1902) by Mikhail Vrubel.

Unlike the other magazines mentioned above, I’ve yet to come across a cache of whole editions of Mir Iskusstva (and I’m still waiting for Ver Sacrum to turn up somewhere). This page has an overview of the Russian art movement and its journal, while this page has a selection of works by the artists involved. For more of Vrubel’s work, Wikimedia Commons has the best collection of the artist’s paintings and sculpture.

Terror Antiquus (1908) by Léon Bakst.

Previously on { feuilleton }
• Diaghilev and the Ballets Russes
• Pamela Colman Smith’s Russian Ballet
• The art of Ivan Bilibin, 1876–1942
• Magic carpet ride
• Le Sacre du Printemps
• Images of Nijinsky

The art of Karel de Nerée tot Babberich, 1880–1909

Judith (no date).

Another Decadent type who died young, de Nerée was a Dutch artist and illustrator whose work in these pictures owes a great deal to Aubrey Beardsley. As Beardsley-influenced pieces go they’re rather crude, although it’s unfair to be too judgemental since there’s so little of his work available to see online. Following yesterday’s post, it’s inevitable that he produced a Salomé picture of his own but there’s no sign of that, the curiously space-age (or alien) Judith above is the closest you’ll get.

Introduction to Extaze (1900-01).

On the strength of these drawings I’d probably have de Nerée down as a post-Beardsley pasticheur similar to Alastair (aka Hans Henning Voigt) but there’s another side to his output evident in his painted works which show a far more assured Symbolist style, with a figurative approach closer to another Dutch artist of the period, Jan Toorop. It’s a shame the photos there are little more than snapshots, I’d like to see more of these. The Wikipedia article has a couple more drawings, and there’s another Beardsley-esque piece here.

La musique (1904).

Elsewhere on { feuilleton }
• The illustrator’s archive

Previously on { feuilleton }
• More decorated books from the Netherlands

Several Salomés

The Dance of Salomé (1885) by Robert Fowler.

There’s always more to find… Unfortunately, Robert Fowler’s academic tableaux is a prime example of bad Victorian art: carefully modelled but overlit, dull and lifeless. And worst of all for the subject at hand: deeply unerotic. We’re supposed to believe that this woman wrapped in a bedsheet would exude enough eros to drive her father to lustful recklessness. This was the bloodless “good taste” against which Oscar Wilde and the Aesthetes set themselves.

Salomé Dancing before Herod (1876) by Gustave Moreau.

Wilde’s idea of Salomé can be seen here in one of Gustave Moreau‘s many paintings on the theme. Wilde would have preferred Moreau’s paintings, or something similar, to adorn his published play but he ended up with Aubrey Beardsley instead. You only have to compare Beardsley’s Stomach Dance with Fowler’s painting to see why Aubrey’s art made such a dramatic impression in the 1890s.

Salomé (1890) by Ella Ferris Pell.

Ella Ferris Pell’s painting isn’t the only portrait of Salomé by a female artist of this period but it’s the one which Bram Dijkstra chose as the cover image for his excellent study Idols of Perversity: Fantasies of Feminine Evil in Fin-de-Siècle Culture (1986). Of this work Dijkstra writes:

In Pell’s painting a number of the most characteristic turn-of-the-century attributes of the biblical temptress are absent. She does not glare at us with a look of crazed sexual hunger; she does not have the wan, vampire features of the serpentine dancer; nor does she show herself to be a tubercular adolescent … Pell’s Salomé, a real life-woman, independent, confident, and assertive, was far more threatening, far more a visual declaration of defiance against the canons of male dominance than any of the celebrated viragoes and vampires created by turn-of-the-century intellectuals could ever have been. Such a woman could not be disposed of in as cavalier a fashion as the evil women in man’s mind. Her indomitable reality was this feminist Salomé’s most formidable weapon, far more dangerous than any imaginary decapitating sword.

Salomé (1909), two paintings by Robert Henri.

Finally, there’s this pair of paintings by American artist Robert Henri whose work resembles John Singer Sargent’s in its shadowed backgrounds and light brushstrokes. Salomé was no longer a perennial theme by this point but Maud Allan’s improvised dance performance, Vision of Salomé, was proving enormously popular at the time Henri painted these pictures which may explain his choice of subject. There’s little in the rest of his oeuvre along similar lines.

Elsewhere on { feuilleton }
• The Salomé archive

Book-plates of To-day

A design by Harold Nelson.

That title probably requires a (sic) for those unaware that “today” was commonly hyphenated until about 1920. Wilbur Macey Stone’s Book-plates of To-day (1902) is a small overview of the art of the bookplate at the Internet Archive. Among the artists flourishing the Art Nouveau foliage are a couple of familiar illustrators such as Robert Anning Bell (below), and there’s also a plate by the Belgian Symbolist Fernand Khnopff, the first such work I’ve seen by that artist.

Elsewhere on { feuilleton }
• The illustrators archive

Previously on { feuilleton }
• Louis Rhead bookplates
• Pratt Libraries Ex Libris Collection
• Robert Anning Bell’s Tempest
• The Evil Orchid Bookplate Contest
• David Becket’s bookplates

Schloss Linderhof

More Ludwigiana. Schloss Linderhof was Ludwig II of Bavaria’s miniature Versailles at Oberammergau and is a key location in Visconti’s film about the King. The house itself is a riot of gilded rococo which isn’t really to my taste but you can make your own judgement by taking a tour at the palace website or browsing the photos at Wikimedia Commons.

Of greater interest is the Moorish Kiosk in the palace grounds, a small pavilion originally created for the Paris exposition of 1867. The outside is a typical piece of Orientalist architecture while inside there’s some beautiful stained glass and a splendid Peacock Throne. This doesn’t feature in Visconti’s film, unfortunately, but the Venus Grotto does.

Philippe Jullian’s Dreamers of Decadence (1971) contains some pages about Ludwig and the inspiration he gave to Symbolist artists and poets. Reports of places like the Venus Grotto were among those inspirations, and Jullian recounts a description by actor Joseph Kainz of his first visit to Linderhof. The scene is played out in Visconti’s film almost to the letter:

All of a sudden the rock moved; an opening appeared through which we entered a long corridor, brightly lit with a red light. Along the walls of the grotto the King’s servants stood in line.

Still following the servants who were leading the way, I walked to the end of the corridor, as far as what appeared to be a natural opening in the rock. Through this opening there poured a sea of blue light. The interior of the grotto looked like a huge, dazzling sapphire, whose flickering brilliance spread over the craggy walls, entered every tiny crack, and cast a sort of magic veil over every object. I had stopped on the threshold, behind an overhanging rock, dumbfounded by the grandiose splendour that surrounded me; I was breathless with amazement. The ceiling of the grotto was vaulted, like that of a cathedral. I was inside the Venusberg.

I took a step forward and stopped again. The rock which had concealed me until then. had prevented me from seeing on my right a lake of astonishingly limpid water, lit by a sky-blue light. On it there glided two snow-white swans, while on the shores stood a tall man, all alone, and apparently deep in thought: this was the King.

For a moment I gazed at his fine head, his broad shoulders, his remarkably white hands which were casually tossing pieces of bread to the two swans; I also noticed the bright star made up of sapphires which was fastened to his hat.

He shook me warmly by the hand, releasing me from the feeling of depression which had affected me till then. Then the King took me up a path leading to the top of a hill in front of us. On the top of this hill there was a table made of sea-shells which stood on a large conch supported by crystal feet. Near this table there was a seat made of the same materials, and the servants brought along another. The King invited me to sit down, and supper was served.

Every quarter of an hour the King gave a signal and the lighting of the grotto changed; it turned red, then green, then blue, then gold, and into my imagination came memories of ancient legends and fabulous fairy-tales.

360 Cities has some panoramas of the Linderhof grounds with a view of the palace and one of the entrance to the Moorish Kiosk. As you’d expect, Flickr has a large collection of Linderhof photos while there’s also a pool of over five hundred images devoted to Ludwig II.

Previously on { feuilleton }
• Schloss Neuschwanstein