French symbolist artist Odilon Redon (1840-1916) seemed to
thrive at the intersection of literature and art. Known as "the
painter-writer," he drew on the works of Poe, Baudelaire, Flaubert,
and Mallarme for his subject matter. And yet he concluded that
visual art has nothing to do with literature. Examining this
apparent contradiction, "The Brush and the Pen" transforms the way
we understand Redon's career and brings to life the interaction
between writers and artists in fin-de-siecle Paris.Dario Gamboni
tracks Redon's evolution from collaboration with the writers of
symbolism and decadence to a defense of the autonomy of the visual
arts. He argues that Redon's conversion was the symptom of a
mounting crisis in the relationship between artists and writers,
provoked at the turn of the century by the growing power of art
criticism that foreshadowed the modernist separation of the arts
into intractable fields. In addition to being a distinguished study
of this provocative artist, "The Brush and the Pen "offers a
critical reappraisal of the interaction of art, writing, criticism,
and government institutions in late nineteenth-century France.
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