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Ephemeral Bibelots - How an International Fad Buried American Modernism (Hardcover)
Loot Price: R2,030
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Ephemeral Bibelots - How an International Fad Buried American Modernism (Hardcover)
Series: Hopkins Studies in Modernism
Expected to ship within 12 - 17 working days
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Restoring proto-modernist little magazines-known as ephemeral
bibelots-to the scholarly canon. Emanating from the cabarets of
modernist Paris, a short-lived vogue spread around the world for
avant-garde journals known in English as "ephemeral bibelots." For
a time, it seemed that all the young bohemians passing through
Paris started their own bibelots modeled on Le Chat Noir, the
esoteric magazine of the famed Montmartre cabaret. These journals
were recognizable for their decadence, campy queerness, astounding
art nouveau illustrations, fin-de-siecle color schemes, innovative
typefaces, and practiced bohemianism. In Ephemeral Bibelots, Brad
Evans relays the untold story of this late-nineteenth-century craze
for bibelots, dusting off a trove of periodicals largely untouched
by digitization. In excavating this forgotten archive, Evans calls
into question the prehistory of modernist little magazines as well
as the history of American art and literature at the turn of the
twentieth century. Considering how artistic movements take shape,
move, and disappear, the book is organized around three major
themes-"vogue," "ephemera," and "obscurity"-with authors and
artists to match. A full-color insert reveals a glorious array of
bibelot covers. This revisionary history of print culture
incorporates discussions of pragmatist philosophy and relational
aesthetics; women writers like Juliet Wilbor Tompkins and Carolyn
Wells; the graphic artists Will Bradley, Louis Rhead, and John
Sloan; the dancer Loie Fuller; and twentieth-century figures like
H. L. Mencken, Amy Lowell, and Anita Loos. Bringing
nineteenth-century American literature and culture into
conversation with modern art movements from around the world,
Ephemeral Bibelots provides new ways of thinking about the
centrality of various media cultures to the attribution of
aesthetic innovation and its staying power.
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