fin de siècle – Page 6 – { feuilleton }

The mirror of Narcissus

Browsing another fin de siècle magazine—Revue des Arts Décoratifs for 1897—turned up this design for a hand-mirror by Henri Nocq (or Henry as they also name him). Illustrational design was a common feature of the Art Nouveau period, and Nocq’s Narcissus-themed mirror is an ingenious confection complete with etched pond ripples, pearl-flowered lily pads, and even (though you can barely see it here) a carnelian frog. The body of the mirror was silver with narcissus flowers moulded into the obverse side. I’m surprised I haven’t come across this object before which makes me think it may not have survived. (Unless you know better…) As for Henri Nocq, there’s far more attention devoted to the portrait of him by Toulouse-Lautrec (also 1897) than there is to the designer.

For a more contemporary sculptural take on the theme, there’s Narcissus, an early work from 1969 by British artist William Pye. See his website for other work including some gorgeous water sculptures.

Previously on { feuilleton }
• Le Baiser de Narcisse
• Reflections of Narcissus
• Narcissus

Sibilla by Giulio Aristide Sartorio

When the paintings of Giulio Aristide Sartorio were featured here a while back I wasn’t aware of Sibilla: poema drammatico in quattro atti, a book written and illustrated by the artist and published in a numbered edition of 1333 copies in 1922. Not content to merely write a lengthy dramatic poem then add some illustrations, Sartorio hand-crafted some 240 pages, text as well as illustrations, in what looks like woodcut printing but this page tells us was a style of relief etching which gives a woodcut appearance. At least half the book comprises full-page illustrations so it’s no surprise that Sartorio spent the best part of a decade working on it. The copy at the Internet Archive is one of the original printings, signed by the author/artist and his publisher, Ettore Cozzani. This page shows preliminary sketches for what has to be one of the final breaths of fin de siècle excess.

Elsewhere on { feuilleton }
• The illustrators archive

Previously on { feuilleton }
• Lussuria, Invidia, Superbia
• The art of Giulio Aristide Sartorio, 1860–1932

Deutsche Kunst und Dekoration #8

Continuing the delve into back numbers of Deutsche Kunst und Dekoration, the German periodical of art and decoration. Volume 8 covers the period from April–September 1901 and continues to use the ornamental capitals by Karl Lürtzing featured in the previous volume. In this edition the emphasis is predominately upon the Darmstadt Artists’ Colony, a remarkable venture in which many of the artists involved designed and decorated their own houses, the intention being to create living examples of the Jugendstil, or German Art Nouveau, style. This is explored in greater detail in the next volume but for now I’ve chosen a selection of work by Darmstadt artist Paul Bürck. As usual, anyone wishing to see these samples in greater detail, or the rest of the edition, is advised to download the entire volume at the Internet Archive. There’ll be more DK&D next week.

These peacock border designs are uncredited but they show how flexible the ubiquitous fin de siècle bird could be. The last page gives us something unique: an ape in peacock finery.

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Symbolist cinema

Symbolist? Arguably. Decadent? Certainly. Watching Francis Ford Coppola’s Dracula (1992) again this weekend I thought it worth making note of some of these resonances. The real age of Symbolist cinema was the Silent Era from around 1910 onwards, something I discussed in more detail here. That being so, several films made since can be taken as Symbolist (more usually Decadent) productions even if this was never their original intention. Kenneth Anger‘s Magic Lantern Cycle comes immediately to mind, so too Sergei Parajanov’s The Colour of Pomegranates.

Bram Stoker’s novel was published in 1897 at the ebbing of the fin de siècle but vampires and vampirism were already recurrent Symbolist themes. Aesthetic magus Walter Pater wrote of the Mona Lisa in 1893, “She is older than the rocks among which she sits; like the vampire, she has been dead many times, and learned the secrets of the grave…” Dracula almost demands a Symbolist interpretation, and for now Coppola’s production is the closest we get. I’ve found this makes the film more satisfying in a way: you can ignore the shoddy performances by secondary characters and concentrate on the decor and details (and the tremendous score by Wojciech Kilar). Some of the following screen grabs argue my point.

Oh look, peacock feathers. I loved the artificiality of this film, the excessive palette, the obvious models and miniatures, the layering of images. The dissolve from a peacock feather to Jonathan Harker’s infernal train journey is a great moment.

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The art of Gustav Adolf Mossa, 1883–1971

Self-portrait.

A French artist and another late Symbolist painter whose idiosyncracies point to Surrealism but whose obsession with femmes fatales looks back to the preoccupations of the fin de siècle. If you don’t mind the implicit misogyny there’s a lot more to be seen here and here.

Elle (1906).

Le baiser d’Hélène (1905).

Bruges-la-morte (1911).

Previously on { feuilleton }
• Le Sphinx Mystérieux
• La belle sans nom
• The Feminine Sphinx
• Le Monstre
• Carlos Schwabe’s Fleurs du Mal
• Empusa
• Bruges-la-Morte