L’Hôtel, Paris

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The London broadsheets have been in a ferment for the past few days over a forthcoming exhibition at the V&A, The Cult of Beauty: The Aesthetic Movement 1860–1900 which opens on April 2nd. The Guardian‘s Jonathan Jones wrote a piece pointing out the French associations of the British Aesthetes in which he mentions the Hôtel d’Alsace at 13 Rue des Beaux-Arts, Paris, the place where Oscar Wilde spent his last few months in 1900 prior to expiring in room no. 16. By coincidence I’d been looking at my own photos of the hotel only the day before so here they are, little more than snapshots but they give an idea of the building at least.

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The hotel is now merely L’Hôtel, and I had a couple of surprises when I went to find the place the last time I was in Paris. The first is that the Rue des Beaux-Arts is some distance away from any main thoroughfares, although this perhaps isn’t so surprising given Wilde’s straitened circumstances. The second was seeing a plaque to Jorge Luis Borges (see below) on the wall opposite the one for Oscar Wilde with its incorrect year of birth. Borges had a lifelong fascination with Wilde, the first piece he had published was a translation into Spanish of The Happy Prince (and The Modern Word has a short essay by Borges about Wilde). I knew that Borges had stayed in the hotel (there’s a famous photo of him standing in the atrium) but didn’t expect his patronage to be commemorated in this way; once again, Paris has a respect for writers that puts many other cities to shame. Wilde is celebrated with two plaques—there’s another beside the door which can be seen here—but what these pictures don’t show is the atrium itself, a small space in the centre of the building which gives the hotel a distinction Wilde might have appreciated even if he would have preferred to spend his final hours in one of the more luxurious establishments.

There are more views of the narrow Rue des Beaux-Arts at Google Maps while the hotel has a website here.

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Wildeana 5

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Gertrude Hoffmann dressed for her opera role as Salome (1908).

Continuing an occasional series. Some people may be surprised to hear that Al Pacino loves Oscar Wilde’s Salome. He acted in a stage version of the drama in 1992 playing Herod to Sheryl Lee’s Salome (the Godfather versus Laura Palmer), and in 2006 announced an intention to make a drama documentary about the play. He talks about his interest in Wilde’s work here. IMDB currently has a page showing a 2011 release for Wilde Salome by Al Pacino but the film’s release has already been subject to delays. Related: Clive Barker’s Salome from 1973; Derek Jarman meets Hammer Horror.

• A post from last year that I should have linked to a lot earlier: A Wilde Library at Little Augury, being a detailed exploration of Wilde’s Tite Street furnishings and interior decoration.

• Oscar Wilde at Tumblr: Oscar Fingal O’Flahertie Wills Wilde and Oscar Wilde Assembly. Then there’s Youth is wasted on the young, a charmingly obsessive Dorian Gray blog.

• Actor Brian Bedford (again) is interviewed by Kevin Sessums about playing Lady Bracknell in a New York production of The Importance of Being Earnest.

What Oscar Wilde could teach us about art criticism by Jed Perl.

Oscar Wilde, classics scholar by Daniel Mendelsohn.

Scarlet letters lift the lid on Wilde’s dalliances.

Elsewhere on { feuilleton }
The Oscar Wilde archive

Deutsche Kunst und Dekoration #10: Heinrich Vogeler

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Continuing the delve into back numbers of Deutsche Kunst und Dekoration, the German periodical of art and decoration. Volume 10 covers the period from April to September 1902. There’s so much of interest in this edition I thought it worth making a two-part post. The number opens with a substantial piece devoted to artist and illustrator Heinrich Vogeler (1872–1942) whose edition of Oscar Wilde stories was featured here a while ago. One of the pleasures of this journal is the attention they devote to overlooked artists. Vogeler has an unusual and distinctive style, playful and florid, and with the same enthusiasm for filling the paper with tiny details as later illustrators such as Harry Clarke. Some of these illustrations are for fairy stories, others for more adult fare; peacocks abound. The article also has examples of his painted work although I find his line drawing to be of greater interest. As before, anyone wishing to see these samples in greater detail is advised to download the entire volume at the Internet Archive. Part two follows tomorrow.

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Deutsche Kunst und Dekoration #4

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Continuing the delve into back numbers of Deutsche Kunst und Dekoration, the German periodical of art and decoration. There isn’t a volume 3 in the Internet Archive collection, hence the jump in the series to volume 4 which covers the period from April–September 1899. This edition features a few more familiar names beginning with artist and illustrator Heinrich Vogeler whose illustrated edition of Oscar Wilde stories was featured here last year. Vogeler’s work isn’t always to my taste although I liked his Wilde drawings; the Tod und Alte piece above is an exception to his usual work of this period rather than the rule. Elsewhere there’s a feature on the graphic designs of Paul Bürck, a profile of Dutch Symbolist Jan Toorop and a report on the Dresden art exhibition of 1899 which includes an array of beautiful Art Nouveau interiors. As with all such idealised exhibition displays, they point the way to a future that was never to be.

More DK&D next week.

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Art Deco bindings

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Contes Oscar Wilde (c. 1928), design by Paul Bonet.

Two selections from this gallery of bookbindings from the 1920s. Few books receive this kind of treatment today but it’s by no means a lost art, The Guild of Book Workers has examples of recent designs.

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La Canne de Jaspe (c. 1925), design by Pierre Legrain.

Elsewhere on { feuilleton }
The book covers archive

Previously on { feuilleton }
Prismes
The art of Thayaht, 1893–1959
The Mentor
The art of Cassandre, 1901–1968
The Decorative Age
The World in 2030