« La vie imite l’art bien plus que l’art imite la nature », disait Oscar Wilde. La traduction des poèmes de Dante Alighieri par Dante Gabriel Rossetti peut se lire comme une expérience de vie, qui ...pose le modèle et la méthode d’un processus de création de soi. On peut dire que Rossetti vivait son Dante. Cette étude suggère que Rossetti inversa l’ut pictura poesis traditionnel en une dynamique d’écriture, en poésie comme en peinture, visant la fidélité non pas au sujet mais à la « nouvelle vie » du soi virtuel émergeant. Elizabeth Siddal fut la Béatrice vivante de Rossetti, et l’amour transcenda et transforma leurs vies en art. Cette étude tente d’examiner une autre forme de transmédialité réciproque, entre la vie et l’art, entre βιός et τέχνη, épitomé de l’inspiration vécue comme circulation pneumatique ou exaltation spirituelle (Aristote, Agamben). Dans une tentative de suggérer une approche différente de la vie et de l’œuvre de Rossetti comme création vitale, cet article fait grand cas des études existantes, sans avoir la place nécessaire pour les synthétiser toutes.
In many aspects Maurice Barrès (1862–1923) could have been a fervent disciple of Ruskin: an art lover influenced by the London aesthetes, a great reader of Rio’s work, On Christian Art, a writer on ...Venice, a political figure who came to adhere to traditionalism, a defender of the churches of France, one of the creators of the 1913 law on national heritage. However Barrès resisted Ruskin’s ideas, due to his interest in the Italian Renaissance, to his greater affinity with the tastes and sensibility of Walter Pater and of Stendhal, and also maybe as a reaction to fashion, as his satire of Ruskin’s pilgrims shows. To respond to Ruskin, he didn’t write a theoretical essay on art, but he inserted in novel or travel writing short polemical meditations. They testified to his increasing first-hand knowledge of Ruskin’s writings and they mostly dealt with the role the Italian Renaissance should play and with the representation of Venice. Barrès thus had a paradoxical role in the circulation of Ruskin’s ideas in France: he contributed to his fame—he is one of the first among few writers who used his name in a novel and, in 1904 he strongly advised Proust to translate St Mark’s Rest—, yet he also became an example of resistance to Ruskin. His followers, Rebell, Daudet, and Vaudoyer illustrated the way Barrès became a leader of this resistance, or at least helped to justify the anti-Ruskinian reaction in France.
In Fiona MacCarthy’s riveting account, Burne-Jones’s exchange of faith for art places him at the intersection of the nineteenth century and the Modern, as he leads us forward from Victorian mores and ...attitudes to the psychological, sexual, and artistic audacity that would characterize the early twentieth century.
In the middle of the 19th century Great Britain, Queen Victoria had been imposing her new ethical code system on social and cultural conditions, sharpening evidently the already abyssal differences ...of the gendered stereotypes. The Pre-Raphaelite painters reacted to the sterile way of painting dictated by the art academies, both in terms of thematology and technique, by suggesting a new, revolutionary way of painting, but were unable to escape their monolithic gender stereotypes culture. Using female models for their heroines who were often identified with the degraded position of the Victorian woman, they could not overcome their socially systemic views, despite their innovative art ideas and achievements. However, art, in several forms, executed mainly by women, played a particularly important role in projecting several types of feminism, in a desperate attempt to help the Victorian woman claim her rights both in domestic and public sphere. This article aims at exploring and commenting on the role of Marie Spartali-Stillman, one of the most charismatic Pre-Raphaelite Brotherhood models and later famous painter herself, in the painting scene of the time. Through the research of her personal and professional relationship with the Pre-Raphaelites, and mainly through an in depth analysis of selected paintings, the authors try to shed light on the way in which M. Spartali-Stillman managed to introduce her subversive feminist views through her work, following in a way the feministic path of other female artists of her time. The ways and the conditions, under which the painter managed to project women as dominant, self-sufficient and empowered, opposing their predetermined social roles, have also been revised.
The classic study of the timeless relationship between
literature and the visual arts In his search for a common
link between literature and the visual arts, Mario Praz draws on
the abundant evidence ...of mutual understanding and correspondence
they have long shared. Praz explains that within literature, each
epoch has "its peculiar handwriting or handwritings, which, if one
could interpret them, would reveal a character, even a physical
appearance," and while these characteristics belong to the general
style of a given period, the personality of the writer does not
fail to pierce through. Praz contends that something similar occurs
in art. He shows how the likeness between the arts within various
periods of history can ultimately be traced to structural
similarities that arise out of the characteristic way in which the
people of a certain epoch see and memorize facts aesthetically.
Mnemosyne, at once the goddess of memory and the mother of the
muses, presides over this view of the arts. In illustrating her
influence, Praz ranges widely through Western sources, providing an
incomparable tour of the literary and pictorial arts.
In his Roundtable: Dante Gabriel Rossetti and Music: Introduction, Allis lists more than a dozen settings of Rossettis poems by composers from 1893 to 1928, including Claude Debussys La damoiselle ...clue, Wilberfoss Owsts The White Ship, and Vaughan Williamss song sequence The House of Life. Both paintings thus belong to a later phase of Pre-Raphaelite art, placing more emphasis on imagined ideas than on naturalism-an aesthetic that shades into symbolism (p. 191); moreover, the poems use of concrete detail in a context of unstructured space and temporal ambiguity is a poetic equivalent of the clear physical detail of the painting . . . combined with its relative lack of perspective" (P. 192). ...Stinis finds parallels between the inward creative/receptive gaze of these paintings and what critics have elsewhere defined as the "inner standing point" in Rossetti's poetry, as well as anticipations of Henri Bergson's conception of multiple temporalities emanating outward from an inner consciousness. Helsinger then explores analogues in Rossetti's watercolors of the period, such as The Tune of Seven Towers, as well as effects in contemporary paintings by Edward Burne-Jones (Green Summer, 1864) and J. M. Whistler (Little White Girl, exh. 1865), observing that in the 1850s and 1860s music becomes in poetry and art "an
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