THE CONDITION OF MUSIC: WAGNERISM AND PRINTMAKING IN FRANCE AND BRITAIN
Identifieur interne : 000221 ( Main/Exploration ); précédent : 000220; suivant : 000222THE CONDITION OF MUSIC: WAGNERISM AND PRINTMAKING IN FRANCE AND BRITAIN
Auteurs : Rachel SloanSource :
- Art History [ 0141-6790 ] ; 2009-06.
English descriptors
- Teeft :
- Alberich, Albert museum, Andries bonger, Angeles county museum, Arsene alexandre, Arthur symons, Aubrey, Aubrey beardsley, Beardsley, Bibliotheque nationale, Brian reade, Brief career, British critics, British museum, British wagnerians, British wagnerism, Brunnhilde, Burnham libraries, Caliban, Charles morice, Chris snodgrass, Concerts populaires, Court painters, Druick, Dudley gallery, Eighteenth century, English translation, Fantin, Fourth tableau, French artist, French artists, French blake, French wagnerism, Further discussion, Gerald cantor center, Germain hediard, German culture, Gures, Gustave geffroy, Harvard college, Hediard, Henri tannh, Hoog, Human form, Imaginative subjects, Imaging department, Isolde, John house, Leonard smithers, Leonce benedite, Linda gertner zatlin, Line block, Lithograph, Lithography, Love drink, Master printer, Mellerio, Michel hoog, Musical harmony, Musical subjects, Musique, Nineteenth century, Odilon, Odilon redon, Oeuvre, Opening scene, Original emphasis, Parallel lines, Parsifal, Pater, Paul verlaine, Peinture wagnerienne, Press cuttings, Reade, Redon, Revue, Revue wagnerienne, Rheingold, Rhin, Rhinegold, Rhinegold drawings, Richard hobbs, Richard wagner, Ring cycle, Robert ross, Rococo revival, Romantic novel, Royal academy, Salon, Scene premiere, Sexual indeterminacy, Stanford university, Subject matter, Sutton, Symbolist, Symbolist landscapes, Symons, Tableau, Tannh, Thin transfer paper, Third tableau, Total work, Transfer lithograph, Transfer lithography, Tristan, University park, User, Vaisseau fantome, Venusberg, Visual arts, Wagnerian, Wagnerian artist, Wagnerian images, Wagnerian lithographs, Wagnerian painting, Wagnerian pictures, Wagnerian prints, Wagnerian subject, Wagnerian subjects, Wagnerian themes, Wagnerienne, Wagnerism, Walter pater, Watery leitmotif, Watteau, White paper, Wood engraving, Wyzewa, Young woman.
Abstract
Scholarship on the impact of Richard Wagner's music and aesthetic theories has traditionally concentrated on fin‐de‐siècle France. Aubrey Beardsley's Wagnerian prints have recently been the subject of several significant studies, but they have been examined in a British context with little reference to earlier or concurrent developments in France. This article serves as a case study of Anglo‐French artistic exchange at the fin‐de‐siècle, examining some points of interaction between Beardsley and two key French Wagnerian artists, Henri Fantin‐Latour and Odilon Redon, in order to throw more light on the complex mixture of political, social and aesthetic discourses that informed all three artists' interest in the intersection of music and the visual arts, as well as their Wagnerian pictorial languages.
Url:
DOI: 10.1111/j.1467-8365.2009.00681.x
Affiliations:
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Aubrey Beardsley's Wagnerian prints have recently been the subject of several significant studies, but they have been examined in a British context with little reference to earlier or concurrent developments in France. This article serves as a case study of Anglo‐French artistic exchange at the fin‐de‐siècle, examining some points of interaction between Beardsley and two key French Wagnerian artists, Henri Fantin‐Latour and Odilon Redon, in order to throw more light on the complex mixture of political, social and aesthetic discourses that informed all three artists' interest in the intersection of music and the visual arts, as well as their Wagnerian pictorial languages.</div></front></TEI><affiliations><list></list><tree><noCountry><name sortKey="Sloan, Rachel" sort="Sloan, Rachel" uniqKey="Sloan R" first="Rachel" last="Sloan">Rachel Sloan</name></noCountry></tree></affiliations></record>Pour manipuler ce document sous Unix (Dilib)
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