A Masterwork of Byzantine Art The David Plates: The Story by Esther M. Morales, Merantine Hens.(Editor)

By Esther M. Morales, Merantine Hens.(Editor)

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Additional info for A Masterwork of Byzantine Art The David Plates: The Story of David and Goliath (A Closer Look)

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Thus we understand why he preferred his 1863 paintings of the fourteen stations of Christ for the church of Decazeville to remain anonymous. It was an order accepted only for the payment involved and which had to be narrative due to its religious purpose. ”76 He was probably defending the static pose of his Salome, and he must have been speaking of a small sketch opposing the dances of antiquity with the wild movements of modern dance. ” The same vocabulary can be found in the writings of Ary Renan, a young poet, art critic and painter, student of Puvis de Chavannes and admirer of Moreau.

The dandy felt himself set apart from society, or above it; his life’s task therefore, was to manifest the distance he felt. 21 The editor John Lane, who published The Yellow Book, the artist Aubrey Beardsley who, among other things, illustrated Wilde’s play Salome, and Arthur Symons, who together with Beardsley published The Savoy, a follow-up of The Yellow Book, shared many of Wilde’s ideas. One of the most important contributions to the development of Symbolist aesthetics and sensibility and to the growth of the Symbolist movement took place in Belgium.

13 Ibid. , 199. 14 15 Introduction Encyclopédie du Symbolisme, 160. Charles Baudelaire. The Flowers of Evil. A new translation with parallel French text (Oxford: Oxford University Press, 1998), 18–19. , 162-163. 18 Encyclopédie du Symbolisme, 173. 19 Paul Verlaine. One Hundred and One Poems (Chicago: The University of Chicago Press, 1999), 126. ” Encyclopédie du Symbolisme, 47. 21 Cited in Neginsky, Zinaida Vengerova: In Search of Beauty, 124 from Betsy F. Moeller-Sally, “Oscar Wilde and the Culture of Russian Modernism,” Slavic and East European Journal, 34, no 4 (1990): 461.

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