Félicien Rops. Followed by The Monster.
Marguerite Waknine| N° d'inventaire | 23717 |
| Format | 15 x 21 |
| Détails | 42 p., notebook. |
| Publication | Angoulême, 2014 |
| Etat | Nine |
| ISBN | 9782916694771 |
History is not lacking in examples of the multiple relationships that men of letters have with the world of art. In this regard, it is enough to think for a moment of the two emblematic figures that were Baudelaire and Diderot. However, in the case of Joris-Karl Huysmans (1848 - 1907), the author of the famous stories Against the Grain and Over There, these relationships seem to want to become even stronger, as if there were as much art in literature and vice versa, and that it was a matter of establishing, in essence, a sort of firm and definitive meeting between these two worlds. But did not Huysmans come from a line of artists, to the point that he could say: "From father to son, everyone in this family has painted?"; and should we pretend to ignore that his vocation as a writer came from his first visits to the Louvre. In other words, not an art critic, but an art writer, an artist writer, who was as interested in the painting of his time as in that of previous centuries, through numerous texts dazzling in both their style and their erudition, including the one on the Belgian artist Félicien Rops, reproduced in these pages, alongside the admirable little essay devoted by Huysmans to the question of the monster in art.
History is not lacking in examples of the multiple relationships that men of letters have with the world of art. In this regard, it is enough to think for a moment of the two emblematic figures that were Baudelaire and Diderot. However, in the case of Joris-Karl Huysmans (1848 - 1907), the author of the famous stories Against the Grain and Over There, these relationships seem to want to become even stronger, as if there were as much art in literature and vice versa, and that it was a matter of establishing, in essence, a sort of firm and definitive meeting between these two worlds. But did not Huysmans come from a line of artists, to the point that he could say: "From father to son, everyone in this family has painted?"; and should we pretend to ignore that his vocation as a writer came from his first visits to the Louvre. In other words, not an art critic, but an art writer, an artist writer, who was as interested in the painting of his time as in that of previous centuries, through numerous texts dazzling in both their style and their erudition, including the one on the Belgian artist Félicien Rops, reproduced in these pages, alongside the admirable little essay devoted by Huysmans to the question of the monster in art.