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Certain Artists
Certain Artists makes for compelling reading. Huysmans’ idiosyncratic assessments throw light on his aesthetic preoccupations, past and present, and hint at the spiritual journey he was about to undertake. It includes over 140 black and white illustrations, as well as an introduction, setting the book in the context of its time, comprehensive notes, and a glossary of the artists mentioned.
First published in 1889, but never before translated into English, this second collection of J.-K. Huysmans’ art criticism serves as a companion to the author’s iconoclastic Modern Art (L’Art moderne) of 1883. Unlike the earlier volume, Huysmans wastes little time lambasting the art of the establishment, the Academic painters whose work had lined the annual Salon for years. Instead, he concentrates on a series of his own artistic enthusiasms, which he explores with his trademark spleen and invective. There are extended analyses of Edgar Degas’s controversial portraits of women at their toilette; of Odilon Redon’s monstrous and disturbing engravings, of Gustave Moreau’s heiratic paintings that had such a powerful influence on Against Nature; and of Félicien Rops, whose Satanic engravings, particularly his images of women as agents of the devil, would haunt Huysmans’ subsequent novel, Là-bas, of 1891.
First published in 1889, but never before translated into English, this second collection of J.-K. Huysmans’ art criticism serves as a companion to the author’s iconoclastic Modern Art (L’Art moderne) of 1883. Unlike the earlier volume, Huysmans wastes little time lambasting the art of the establishment, the Academic painters whose work had lined the annual Salon for years. Instead, he concentrates on a series of his own artistic enthusiasms, which he explores with his trademark spleen and invective. There are extended analyses of Edgar Degas’s controversial portraits of women at their toilette; of Odilon Redon’s monstrous and disturbing engravings, of Gustave Moreau’s heiratic paintings that had such a powerful influence on Against Nature; and of Félicien Rops, whose Satanic engravings, particularly his images of women as agents of the devil, would haunt Huysmans’ subsequent novel, Là-bas, of 1891.
- GenresArt
256 pages, Paperback
First published January 1, 1889
31 people want to read
About the author
Joris-Karl Huysmans
329 books702 followersCharles Marie Georges Huysmans was a French novelist who published his works as Joris-Karl Huysmans. AKA: J.-K. Huysmans.
He is most famous for the novel À rebours (Against Nature). His style is remarkable for its idiosyncratic use of the French language, wide-ranging vocabulary, wealth of detailed and sensuous description, and biting, satirical wit.
The novels are also noteworthy for their encyclopedic documentation, ranging from the catalogue of decadent Latin authors in À rebours to the discussion of the symbiology of Christian architecture in La cathédrale. Huysmans' work expresses a disgust with modern life and a deep pessimism, which led the author first to the philosophy of Arthur Schopenhauer then to the teachings of the Catholic Church.
He is most famous for the novel À rebours (Against Nature). His style is remarkable for its idiosyncratic use of the French language, wide-ranging vocabulary, wealth of detailed and sensuous description, and biting, satirical wit.
The novels are also noteworthy for their encyclopedic documentation, ranging from the catalogue of decadent Latin authors in À rebours to the discussion of the symbiology of Christian architecture in La cathédrale. Huysmans' work expresses a disgust with modern life and a deep pessimism, which led the author first to the philosophy of Arthur Schopenhauer then to the teachings of the Catholic Church.
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