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Books > Language & Literature > Literature: history & criticism > Literary theory
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Decadent Aesthetics and the Acrobat in French Fin de siecle (Paperback)
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Decadent Aesthetics and the Acrobat in French Fin de siecle (Paperback)
Series: Routledge Studies in Nineteenth Century Literature
Expected to ship within 12 - 17 working days
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In his discussion of clowns in nineteenth-century French painting
from Jean-Leon Gerome's 1857 La Sortie du bal masque to Georges
Rouault, art historian Francis Haskell wondered why they are so
sad. The myth of the sad clown as an allegory for the unappreciated
artist found echoes in the work of literary counterparts like
Charles Baudelaire and his "Vieux saltimbanque" who seeks in vain a
responsive public. For some, the attraction of the acrobatic clown
for the creative imagination may have been his ability to embody
the plight of the artist: these artistes generally led an
ambulatory and uncertain existence. Other artists and writers,
however, particularly the Decadents, perceived in the circus
acrobat - including the acrobatic clown - a conceptual and
performative tool for liberating their points of view from the
prison-house of aesthetic convention. If authors' protagonists were
themselves sometimes failures, their aesthetic innovations often
produced exhilarating artistic triumphs. Among the works examined
in this study are the circus posters of Jules Cheret, Thomas
Couture's Pierrot and Harlequin paintings, Honore Daumier's
saltimbanque paintings, Edgar Degas's Miss Lala au Cirque Fernando,
Edouard Manet's Un bar au Folies-Bergere, the pantomimes of the
Hanlon-Lees troupe, and novels, short stories, and poems by
Theodore de Banville, Edmond de Goncourt, J. K. Huysmans, Gustave
Kahn, Jules Laforgue, Catulle Mendes, Octave Mirbeau, Jean
Richepin, Edouard Rod, and Marcel Schwob.
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