Felix Cherniavsky - Depictions of Maud Allan's "Vision of Salome"

Added 19th Mar 2022 by Beth Dobson (Archives and Programming Assistant, DCD) / Last update 19th Mar 2022

Maud Allan 1075 51 2008-2-69.jpg
Maud Allan 1075 51 2008-2-69.jpg
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Felix Cherniavsky - Depictions of Maud Allan's "Vision of Salome"

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Maud Allan Research Collection
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51.2008-2-69
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ha Femmtakle . ited above all other beauties by the catalepsy that hardens her flesh and steels muscles , the monstrous Beast , indifferent , irresponsible , insensible , poisoning : the Helen of ancient myth , everything that approaches her , everything that sees , everything that she touches . he art a strar ream world conjured up by Moreau offers interesting parallels irne - Jones . There is a similar love of androgynous beauty and sosphere of languid passivity . Mario Praz's vivid description of Moreau's vould apply to Burne - Jones almost equally well : vers look as though they were related , brothers as though they were lovers , men e the faces of virgins , virgins of youths . The symbols of good and evil are wined and equivocably confused . There is no contrast between different ages , es or types . The underlying meaning of this painting is incest , its most exalted e the androgyne , its final word sterility . facts of Moreau's life as well as the hostility towards women evident in intings tempt one to diagnose a classic Oedipus complex . For most of his life , Moreau lived alone with his mother in a large and gloomy mansion centre of Paris . When she became deaf , he communicated with her by of little scraps of paper . After her death , which occurred when he was was inconsolable , and closed off her bedroom and the dining room where ad eaten together . Apart from his mother and one mysterious and long ; sentimental friendship , Moreau seems to have had little time for women c in his macabre fantasies . Some idea of the intensity of Moreau's misogyny gained from this commentary on his exquisite watercolour Salome in the n : is bored and fantastic woman , with her animal nature , giving herself the pleasure Henri Rivière , Herodias 1896. Salome's seeing her enemy struck down , not a particularly keen one for her because she mother Herodias was also a frequently 30 weary of having all her desires satisfied . This woman , walking nonchalantly depicted femme fatale . This engraving is a veg bestial manner , through the gardens that have just been stained by a an illustration to Mallarmé's Hérodiade . crible der , which has frightened the executioner himself and made him flee tracted . . . When I want to render these fine nuances , I do not find them in the vject , but in the nature of women in real life who seek unhealthy emotions and : too stupid even to understand the horror in the most appalling situations . ودر استخدامها ado - masochistic streak in Moreau's psychological make - up is apparent in iny depictions of beautiful youths , dead , dying and mutilated . Next to e and monstrous women these were his favourite subjects . The most ose of these pictures was The Suitors , which he worked on for over forty It is based on the account in the Odyssey of how Ulysses , returning home the Trojan Wars , took revenge upon the suitors who had been pressing inwelcome attentions upon his faithful wife Penelope . The picture is a ing example of how familiar themes were transformed in late nineteenth y painting and of how the most unlikely material was used to express a tic anxiety about women . The uninformed viewer would be unlikely to y the literary source of The Suitors , which depicts a vast classical interior with the bodies of scantily - clad young men who , in the midst of their agonies , subside into graceful and voluptuous attitudes - Delacroix's napalus in reverse . The Goddess Athena , appearing as an apparition , at the of the picture , seems to be responsible for the orgiastic carnage , rather he insignificant figure of Ulysses who is dwarfed by the enormous columns background . ' eau was one of the luminaries of the Symbolist movement , which can best ned in negative terms as a reaction to the materialism of nineteenth - century e and to the naturalism which was predominant in the arts in the 1860s 3704 d which culminated in the novels of Émile Zola and the paintings Is ssionists . There was a remarkable diversity of style among the olist painters and they are linked mainly by their choice of subject matter shared sensibility . everyday world around them was of little significance . Moreau proclaimed , eve only in what I do not see ' . Instead they looked inwards and tried to 17

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