Word: mallarme
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...Springs. The landmarks in modern literature, Steiner says, are works that have pushed language over the precipice of its past-Joyce's Ulysses, the poetry of Mallarmé and Rilke. Painting, too, is language, but the modern practitioners are in total rebellion against the "verbal" or meaningful in art. Franz Kline's Chief is a tornado of paint, and nothing can be said about it that is "pertinent to the habits of linguistic sense." Contemporary music also flies from exterior meanings. Language today can deal only with the surfaces of experience. "The rest, and it is presumably...
Motherwell proved a fast learner. The great lesson "of what modern art is all about," he believes, was first stated by French Symbolist Poet Stéphane Mallarmé in 1864: "Paint not the thing, but the effect it produces." For the young Motherwell, the easiest way to set this down was by combining oil, gouache and pieces of torn paper. Today his elegantly signed collages-which often combine pieces of French Gauloises cigarette packages, an envelope from his English bookseller or a football ticket-sell for from $3,500 to $5,500, are considered by connoisseurs the most elegant...
...wonderfully open, eloquent and touching letters records his astonishment at learning that his old Princeton classmate, Edmund Wilson, a man whom he regarded as his literary conscience, was suddenly to be heard expounding Marxist sociology. "Up Mallarmé!" was Fitzgerald's reaction to the dawn of a decade that was to be hostile to his esthetic creed...
...dissipated after the second apéritif, leaving nothing behind but the smile on the face of the waiter. Yet literary groups-if they persist long enough to draw serious attention-are occasionally to be reckoned with. Between about 1880 and 1895, for instance, the Symbolists, led by Mallarmé, reshaped the tone and temper of poetry, both English and French. In more recent times the Existentialists, though they produced no technical inventions, succeeded in making despair popular...
...symbolist who worshiped at the literary and artistic shrines of Mallarmé and Gauguin, Vuillard brought impressionism into the parlor. Like Manet, Monet and Degas, he covered his canvases with veils of light and shadow. But Vuillard's subjects were domestic-his mother, his friends and the quiet, bourgeois, wallpapered rooms in which they lived. To those everyday themes, he brought the quiet joy of small mysteries...