Table Of ContentCultural Interactions:
Studies in the Relationship between the Arts 15 CISRA Vol 15
L
i
n
This book explores interaction and competition between painting and d
a
literature in France, from the late nineteenth century to the early twentieth, G
offering new readings of works by key figures including Paul Gauguin, o
d
d
Stéphane Mallarmé, Pablo Picasso and André Gide. Combining close visual a
r
and literary analysis with a broader examination of critical discourse, the d
volume uncovers a mutual but often contentious exchange of ideas. The
A
author challenges habits of periodisation, drawing attention to the links e
s
t
between Symbolist and Cubist criticism. Issues such as the debate about h
e
‘literary’ painting, the role of art criticism and artists’ writings, as well as themes t
i
c
such as newspapers and gold, alchemy and forgery, are shown to connect the
R
two centuries. In examining how the rejection of mimesis in painting affected i
v
literary responses to the visual arts, the book explores a shift in power from the a
l
r
verbal to the visual in the early decades of the twentieth century. i
e
s
:
W
o
r
d
a
n
d
I
m
a
g
e
Linda Goddard is a Lecturer in Art History at the University of St
i
n
Andrews. She was previously a British Academy Postdoctoral Fellow at the
F Aesthetic Rivalries
Courtauld Institute of Art, where she completed a PhD in 2004. She is r
a
currently working on a book about the writings of Paul Gauguin. n
c
e
, Word and Image in France, 1880 –1926
1
8
8
0
Linda Goddard
–
1
9
2
6
ISBN 978-3-03911-879-3
Peter Lang
www.peterlang.com
Cultural Interactions:
Studies in the Relationship between the Arts 15 CISRA Vol 15
L
i
n
This book explores interaction and competition between painting and d
a
literature in France, from the late nineteenth century to the early twentieth, G
offering new readings of works by key figures including Paul Gauguin, o
d
d
Stéphane Mallarmé, Pablo Picasso and André Gide. Combining close visual a
r
and literary analysis with a broader examination of critical discourse, the d
volume uncovers a mutual but often contentious exchange of ideas. The
A
author challenges habits of periodisation, drawing attention to the links e
s
t
between Symbolist and Cubist criticism. Issues such as the debate about h
e
‘literary’ painting, the role of art criticism and artists’ writings, as well as themes t
i
c
such as newspapers and gold, alchemy and forgery, are shown to connect the
R
two centuries. In examining how the rejection of mimesis in painting affected i
v
literary responses to the visual arts, the book explores a shift in power from the a
l
r
verbal to the visual in the early decades of the twentieth century. i
e
s
:
W
o
r
d
a
n
d
I
m
a
g
e
Linda Goddard is a Lecturer in Art History at the University of St
i
n
Andrews. She was previously a British Academy Postdoctoral Fellow at the
F Aesthetic Rivalries
Courtauld Institute of Art, where she completed a PhD in 2004. She is r
a
currently working on a book about the writings of Paul Gauguin. n
c
e
, Word and Image in France, 1880 –1926
1
8
8
0
Linda Goddard
–
1
9
2
6
Peter Lang
www.peterlang.com
Aesthetic Rivalries
C I
ultural nteraCtIons
Studies in the Relationship between the Arts
Edited by J.B. Bullen
Volume 15
PETER LANG
Oxford • Bern • Berlin • Bruxelles • Frankfurt am Main • New York • Wien
Linda Goddard
Aesthetic Rivalries
Word and Image in France, 1880 –1926
PETER LANG
Oxford • Bern • Berlin • Bruxelles • Frankfurt am Main • New York • Wien
Bibliographic information published by Die Deutsche Nationalbibliothek.
Die Deutsche Nationalbibliothek lists this publication in the Deutsche
Nationalbibliografie; detailed bibliographic data is available on the
Internet at http://dnb.d-nb.de.
A catalogue record for this book is available from the British Library.
Library of Congress Cataloging-in-Publication Data:
Goddard, Linda.
Aesthetic rivalries : word and image in France, 1880-1926 / Linda
Goddard.
p. cm. -- (Cultural interactions : studies in the relationship
between the arts ; ser. no. 1 : 15)
Includes bibliographical references and index.
ISBN 978-3-03911-879-3 (alk. paper)
1. Arts, French--19th century. 2. Arts, French--20th century. 3. Art
and literature--France--History--19th century. 4. Art and
literature--France--History--20th century. I. Title. II. Title: Word
and image in France, 1880-1926.
NX549.A1G63 2011
700’.94409034--dc23
2011027701
ISSN 1662-0364
ISBN 978-3-03911-879-3
Cover image: Pablo Picasso, Bottle, Cup and Newspaper
(4 December 1912, or later), 63 × 49 cm, cut-and-pasted newspaper,
charcoal and pencil on paper. Museum Folkwang, Essen.
© Succession Picasso/DACS, London 2011.
© Peter Lang AG, International Academic Publishers, Bern 2012
Hochfeldstrasse 32, CH-3012 Bern, Switzerland
[email protected], www.peterlang.com, www.peterlang.net
All rights reserved.
All parts of this publication are protected by copyright.
Any utilisation outside the strict limits of the copyright law, without the
permission of the publisher, is forbidden and liable to prosecution.
This applies in particular to reproductions, translations, microfilming, and
storage and processing in electronic retrieval systems.
Printed in Germany
Contents
Acknowledgements vii
List of Illustrations ix
Introduction
Interchange and Rivalry between the Arts 1
Chapter 1
Hierarchies of the Senses in Symbolist Criticism 17
Chapter 2
A Creative Conspiracy: Gauguin’s Noa Noa 65
Chapter 3
Art in Theory: Word and Image in Early Cubist Criticism 113
Chapter 4
Mallarmé, Picasso and the Aesthetic of the Newspaper 163
Chapter 5
Gide’s Les Faux-monnayeurs: From Alchemy to Forgery 197
Coda
Visual and Verbal Simultaneity in the Early Twentieth Century 233
Bibliography 247
Index 265
Acknowledgements
This book began as a doctoral thesis completed at the Courtauld Institute
of Art, London. I am greatly indebted to my supervisors, John House and
Christopher Green, for their advice, support and example. I would like
to thank Richard Hobbs and Peter Read for their detailed comments and
encouragement, and Barrie Bullen for his interest in the project. Fund-
ing for my doctoral research was generously provided by the Arts and
Humanities Research Council. I benefited enormously from two postdoc-
toral fellowships, which enabled me to develop this project into a book: a
Junior Research Fellowship at Churchill College, Cambridge, and a British
Academy Postdoctoral Fellowship at the Courtauld Institute of Art and
the University of St Andrews. Colleagues and students in the History of
Art Department at the University of Cambridge, the Courtauld Institue
of Art and the School of Art History at the University of St Andrews
have provided motivating and supportive environments in which to work.
At Peter Lang, I would like to thank, in particular, Hannah Godfrey and
Gemma Lewis. The time spent writing this book has been greatly enriched
by many individuals who have been generous in various ways with their
time and perspective, including Natalie Adamson, Yve-Alain Bois, Grace
Brockington, Elizabeth Childs, David Cottington, Miranda Gill, Lorenzo
Martelli, Jenny Piening, Kate Quinn, Alistair Rider, Juliet Simpson, John-
Paul Stonard, Belinda Thomson, Aurélie Verdier – and especially Ralph
Kingston, who has been the most constant presence during the writing of
this book, and who lightened the load along the way. I would like to thank
Ariane Fennetaux for her invaluable assistance with the translations and
Jim Stewart for his careful editing and index; any errors that remain are,
of course, my own. I am especially grateful for the support of my parents,
Helen and Peter Goddard, and my brother, Michael. I would like to dedi-
cate this book to the memory of Rebecca Slater, who was an inspiration
throughout.
viii Acknowledgements
Parts of this book have appeared in dif ferent versions in the following
publications: ‘Birds of a Feather: Gauguin’s Ambivalent Relationship with
Literary Symbolism’, Immediations: The Research Journal of The Courtauld
Institute of Art, vol. 1, no. 2, 2005, pp. 54–72; ‘“The Writings of a Savage”?
Literary Strategies in Paul Gauguin’s Noa Noa’, The Journal of the Warburg
and Courtauld Institutes, LXXI, 2008, pp. 277–93; ‘Mallarmé, Picasso and
the Aesthetic of the Newspaper’, Word & Image, vol. 22, no. 4, October–
December 2006, pp. 293–303.
