19910512.1718
[continued]
**
*[Marginal note above:]
64A~|32C1888[ce]
**[– ibid (Encyclopaedia Britannica 25:370)]
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[continued]
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[Redbook10:75][19910512:1718ga]{Modern Art [continued (33)]}[Extracts from source text with ms notes][12th May 1991]
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[continued]
**
*[Marginal notes above:]
{eg [[Redbook10:94][19910512:1718##]{Modern Art [continued (#)]}[Extracts from source text with ms notes][12th May 1991],] 94}
[‘The Tub’ by Degas; 1886[ce]]
2048m~|G~1904
**[– ibid (Encyclopaedia Britannica 25:370)]
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[continued]
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[continued]
**
***
*[Marginal notes above:]
64A~1888[ce]
C |
|
|
|
\ |
|
|
|
s~ |
(See illus[tration] E[ncyclopedia] B[ritannica] 25:370ff Plate 22)**
**[Plate 22 (not reproduced in the ms or the ts) shows:
‘The Starry Night’, oil painting by Vincent van Gogh, 1889[ce].
‘Mont Sainte-Victoire’, oil painting by Paul Cezanne, 1904[ce].
‘The Kiss’, oil painting by Gustav Klint.
‘Sunday Afternoon on the island of Grande Jatte’, by Georges Seurat.]
***[– ibid (Encyclopaedia Britannica 25:)370]
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[Redbook10:74-75][19910512:1718fy]{Modern Art [continued (31)]}[Extracts from source text with ms notes][12th May 1991]
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[continued]
*
****
*[Marginal note above:] {[1st sentence part] Duplicate [[Redbook10:73][19910512:1718fu]{Modern Art [continued (27)]}[Extracts from source text with ms notes][12th May 1991],] 73}
**[Marginal note above:] cf [TS] Eliot’s ‘Dissociation of Sensibility’ after Donne (d[ied] 1631[ce]) & Marvell (d[ied] 1678[ce])
***[Marginal note above:]
64A~1888[ce]
****[– ibid (Encyclopaedia Britannica 25:)369-370]
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[Redbook10:74][19910512:1718fx]{Modern Art [continued (30)]}[Extracts from source text with ms notes][12th May 1991]
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[continued]
**
***
*{cf [[Redbook10:153-154][19910518:0925#][#]{ – John the Baptist & Salome}[Extracts from source text with ms notes][18th May 1991],] 153}
**’John and Salome’, pen and ink on paper by Aubrey Beardsley, 1893[ce].
[See [Redbook10:73][19910512:1718fu]{Modern Art [continued (27)]}[Extracts from source text with ms notes][12th May 1991]]
***[– ibid (Encyclopaedia Britannica 25:369)]
[This illustration from a different source]
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[Redbook10:74][19910512:1718fw]{Modern Art [continued (29)]}[Extracts from source text with ms notes][12th May 1991]
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[continued]
*
*[Marginal note above:]
{[1st sentence] Duplicate [[Redbook10:73][19910512:1718ft]{Modern Art [continued (26)]}[Extracts from source text with ms notes][12th May 1991],] 73}
**[– ibid (Encyclopaedia Britannica 25:369)]
[continued]
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[Redbook10:74][19910512:1718fv]{Modern Art [continued (28)]}[Extracts from source text with ms notes][12th May 1991]
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[continued]
*
**
*[Marginal note above:]
64A~1888[ce]
**[– ibid (Encyclopaedia Britannica 25:369)]
[The first sentence is duplicated at [Redbook10:71][19910512:1718fs]{Modern Art [continued (25)]{– Impressionist Painting}}[Extracts from source text with ms notes][12th May 1991]↑]
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[Redbook10:73][19910512:1718fu]{Modern Art [continued (27)]}[Extracts from source text with ms notes][12th May 1991]
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[continued]
‘In England, a young illustrator, Aubrey Beardsley, influenced initially by Sir Edward Burne-Jones, arrived at what he called his Japonesque style in 1892[ce]. His work, in the years that followed, was foremost in spreading a new spirit that was not only decorative but strangely wanton and sensuous (Figure 17).* It was akin to the decorative style known as Art Nouveau, or Jugendstil, which spread across Europe and to the Americas in the 1890s[ce].’
**
*[For illustration, see [Redbook10:74][19910512:1718fx]{Modern Art [continued (30)]}[Extracts from source text with ms notes][12th May 1991]↓]
** – ibid [Encyclopaedia Britannica 25:369]
[{Partially duplicated & continues in next ts journal entry but three, [Redbook10:74-75][19910512:1718fy]{Modern Art [continued (31)]}[Extracts from source text with ms notes][12th May 1991]]
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[Redbook10:73][19910512:1718ft]{Modern Art [continued (26)]}[Extracts from source text with ms notes][12th May 1991]
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[continued]
‘For the next 15 years Symbolism was the effective avant-garde, and one of a quite new kind which explicitly influenced not only the arts but also the thought and spirit of an epoch.’
*
* * – ibid [Encyclopaedia Britannica 25:369]
[Duplicated & continues in next ts journal entry but two, [Redbook10:74][19910512:1718fw]{Modern Art [continued (29)]}[Extracts from source text with ms notes][12th May 1991]]
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[Redbook10:73][19910512:1718fs]{Modern Art [continued (25)]}[Extracts from source text with ms notes][12th May 1991]
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[continued]
{ – Symbolist Painting}
‘Symbolism.
The new aims had been foreshadowed by Odilon
Redon, who moved from the some starting point as the Impressionists –
the landscape style of the Barbizon* school – in precisely the
opposite direction. Redon's visionary charcoal drawings (which he
called his black pictures) led to successive series of lithographs
that explored the evocative, irrational ** & fantastic orders of
creation that Impressionism excluded. “Nothing in art,” Redon
wrote later, “can be done by will alone. *** Everything is done by
docile submission to the coming of the unconscious... for every act
of creation, the unconscious sets us a different problem.”
‘Redon
established one of the characteristic standpoints of modern art, and
his significance to the younger Symbolists was profound.’
****
*?=
**r~, g~, j~?
***
|
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C |
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|
/↓/ |
|
\↓\ |
|
r~ |
|
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|
s~ |
**** – E[ncyclopaedia] B[ritannica] 25:369
[Source text continues from last previous ts journal entry but one]
#[Source text continues in next ts journal entry but two]
(The whole of the rest of the article is {photo-}copied below# [in the ms]; extracts also follow [first]).
[continued]
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[Redbook10:72][19910512:1718fr]{Modern Art [continued (24)]{– Impressionist Painting}}[Extracts from source text with ms notes][12th May 1991]
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[continued]
(I have absolutely no regrets about having copied the whole of this article* out by hand.)
*[[Redbook10:68][19910512:1718fj]{Modern Art [continued (16)]{– Impressionist Painting}}[Extracts from source text with ms notes][12th May 1991]ff, to last previous ts journal entry]
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