fin de siècle – Page 9 – { feuilleton }

Jugend, 1896

So, then, I’ve now looked through several thousand pages of Jugend magazine and a few things have become apparent. If you’re interested in fin de siècle art and design then all the most interesting material is in the first four years of the magazine’s run, from 1896 on. After 1900 there are still examples of the florid Art Nouveau motifs which filled their earlier pages but the overall style becomes progressively dull, with endless pictures of German towns and hearty country folk. The magazine also begins to reflect an obviously belligerent mood in the country as a whole, pictures of military types and patriotic themes proliferate and the satirical material grows overtly aggressive towards neighbouring nations. Racist cartoons are to be expected—British magazines of the period are much the same—but there’s also a vicious antisemitism boiling away in later issues of Jugend which creates a toxic mix when seen beside the war-mongering on display elsewhere.

Politics aside, these magazines are still a revelation. Pan magazine was being published at the same time (its entire run is also available in the Heidelberg archives) and is the finer journal if it’s art you’re interested in. But Jugend, being a lighter read, contains a wealth of strange and surprising illustrations. Many are naive or just plain bad, of course, but some are quite remarkable. This is the first of a number of posts I’ll make which highlight illustrations that catch my eye. I’ll also be making some follow-up posts about individual artists as the magazine has been a great introduction to minor illustrators I’ve not come across before. This first post is from the two volumes covering 1896 which can be browsed and downloaded here and here.

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Bradley does Beardsley

Browsing various bookbinding sites this week turned up a gorgeous cover design I hadn’t seen before by the great Will Bradley (1868–1962). The Beardsley influence is unmistakable, of course, and more pronounced than one usually sees in Bradley’s work. Richard Le Gallienne is a familiar name to scholars of the London fin de siècle scene although I can’t testify to the quality of this novel which was published in 1898, the year of Beardsley’s death. If you want to give it a go, the Internet Archive has the entire thing in its Bradley livery.

Elsewhere on { feuilleton }
• The book covers archive

Previously on { feuilleton }
• Peacocks

Tite Street then and now

This LIFE magazine photo of Oscar Wilde’s home at 34 Tite Street, Chelsea, is fascinating for Wilde aficionados in being a far more detailed view of the “House Beautiful” exterior than one ever finds in books about the writer. No information as to when it was taken but from the look of the print it was probably some time just before or after 1900.

Google Earth lets us examine Tite Street as it is today, with Oscar’s house looking relatively unchanged aside from the blue plaque which informs people that he once lived there. What you can’t see in this picture is the opposite side of the street which now contains a particularly dreary housing development from the 1960s. Oscar and his contemporaries in the area—many of whom were artists—wouldn’t have been impressed at all.

Elsewhere on { feuilleton }
• The Oscar Wilde archive

Art Nouveau Revival 1900 . 1933 . 1966 . 1974

It was the slightly gamy residue of the super-elegant and exotic pictures of Aubrey Beardsley. I have always considered the 1900 period as the psycho-analytical end-product of the Greco-Roman Decadence. I said to myself: Since these people will not hear of aesthetics and are capable of becoming excited only over “vital agitations”, I shall show them how in the tiniest ornamental detail of an object of 1900 there is more mystery, more poetry, more eroticism, more madness, perversity, torment, pathos, grandeur and biological depth than in their innumerable stock of ugly fetishes, possessing bodies and souls of a stupidity that is simply and uniquely savage!

Salvador Dalí, The Secret Life of Salvador Dalí (1942).

More from Paris, whereupon it becomes necessary to ask: how much more groovy could this poster be? And the answer is none. None more groovy. Art Nouveau Revival 1900 • 1933 • 1966 • 1974 is an exhibition running at the Musée d’Orsay, Paris, which traces the echoes of Art Nouveau through Surrealism into the revival of the 1960s.

Poster by Albert Angus Turbayne for Macmillan’s illustrated Standard Novels (1903).

Rejected and scorned in the decades following its brief flowering, Art Nouveau was spectacularly rehabilitated in the 1960s. This re-evaluation offers a particularly interesting interlude in the history of style in that many different areas were affected at the same time by this phenomenon: the history of art, the art market, contemporary creative work, particularly design and graphics.

There’s further detail here, along with photos of some of the exhibits. Verner Panton’s Visiona II makes another appearance and in addition to Dalí and company there’s the magic word “psychedelic”. The exhibition runs until February 4, 2010, and there’s a catalogue co-written by the V&A’s fin de siècle expert Stephen Calloway which I’m going to have to buy. Via.

Previously on { feuilleton }
• Beardsley at the V&A
• Michael English, 1941–2009
• Temples for Future Religions by François Garas
• Antonin Mercié’s David
• Art Nouveau illustration
• Dirty Dalí
• Verner Panton’s Visiona II
• Flowers of Love

Beardsley at the V&A

This battered item is my copy of the V&A guide to the landmark Aubrey Beardsley exhibition held at the museum from May to September 1966. That exhibition introduced Beardsley to a new public and made his work very trendy for a while, helped by the Beardsley-styled sleeve of the Beatles’ Revolver album which was released the same year, and a general resurgence of interest in fin de siècle style. Aside from a rare unfinished drawing, there isn’t anything in the booklet which hasn’t been reprinted many times elsewhere but it does contain an excellent overview of the artist’s career by Beardsley scholar Brian Reade.

The V&A website has gained a new feature recently which allows you to search their collections with either a specific search or a random browse. The results don’t give the kind of high-resolution results which I’d like (unlike the British Museum) but the Beardsley works can now be seen in something like their actual condition, edge of the paper and all. Also present is the above piece of Beardsley trivia, a yellowed sheet of wallpaper manufactured by Arthur Sanderson & Sons Ltd in 1967. The Deansgate office of Savoy Books was once covered in this stuff but had unfortunately been papered over by the time I arrived on the scene.

Elsewhere on { feuilleton }
• The Aubrey Beardsley archive