SUMMARY Æ The Banuet Years The Origins of the Avant Garde in France 1885 to World War I

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The Banuet Years The Origins of the Avant Garde in France 1885 to World War IRry Henri Rousseau Erik Satie and Guillaume Apollinaire using the uartet as window into the era as he explores a culture whose influence is at the very foundation of modern a. I read this book every seven years to remind me what it is to be an artist

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SUMMARY Æ The Banuet Years The Origins of the Avant Garde in France 1885 to World War I ↠ [Reading] ➿ The Banuet Years The Origins of the Avant Garde in France 1885 to World War I By Roger Shattuck – Helpyouantib.co.uk The definitive chronicle of the origins of French avant garde The definitive chronicle of Years The PDFEPUB #188 the origins of French avant garde literature and art Roger Shattuck's classic portrays the cultural bohemia of turn of the. I've now reread the important chapter 11 and so will append my notes in case they should prove useful to anyone apologies in advance for whatever typoserrors there are I don't have the patience to proofread most of the timeFirst let me say this is an excellent book probably the best I've read so far on the topic In addition to a detailed introduction chs 1 2 and an illuminating conclusion chs 11 12 the book contains detailed studies of the personalities and art of Henri Rousseau 1844 1910; Erik Satie 1866 1925; Alfred Jarry 1873 1907; Guillaume Apollinaire 1880 1918The critical chapter is chapter 11 What follows are simple notes poorly digested or at least carelessly thrown together so please excuse from a uick reread of the chapterThere are two keys Shattuck thinks to modernism in a formal or technical senseFirst pp 326 331 the 19th cen began with a “spiritual revival” as man began to search for the divinity within himself The form of a work of art can imply this inward direction as the work itself becomes the means or locus of the search 20th cen art has thus tended to search itself rather than exterior reality for the beauty of meaning or truth a condition that entails relationships between author audience work and worldIf all knowledge is subjective as modern epistemologies suggests BergsonColeridge then art may come to embody its own reality and its own infinity It needs no external world and indeed replaces the external world as an object of attention Thus literature and painting in the 20th cen cease to be representational or imitative of external reality and become instead self sufficient creations rivaling reality The result is that art becomes self reflexive and narcissistic – focusing on itself the creative act rather than on the world As Alfred Jarry wrote “Being once rid of Berkeley’s burden consists not in perceiving or in being perceived but in the iridescent mental kaleidoscope that thinks itself and of itself” Mallarmé’s 'Ma pensée se pense' Stendhal “I ceaselessly ruminate on what interests me; by dint of regarding it in different positions of mind âme I end up seeing something new in it” Thus as early as Stendhal the subject of a work is beginning to dwindle in importance before the carefully watched positions d’âme which transform it into art This process of transformation for Stendhal crystallization followed by disenchantment; for cubism a methodical dissolution of material objects a dissociation of visual ideas carries all before it The subject of a painting is not then what it started with but what it ends up with Juan Gris “To paint is to foresee what is going on in the whole composition of the painting when a certain form or color is introduced” Thus artistic consciousness shrinks from the world into its own mirrored realmThe second key point that Shattuck makes 331ff concerns parataxis and hypotaxis It is well known that archaic writers and in fact this is one of the keys to archaic art generally write paratactically In Homeric Greek for example there are no subordinate conjunctions – what in later attic develop into subordinate conjunctions are simply adverbs in Homer – and so ideas and clauses and indeed whole sections and ‘chapters’ are simply juxtaposed to one another without any indication of the logical relations that are in play and which the reader has to divine or intuit If you can grasp this essential difference then finally you will be well on your way to grasping archaic literature The development of hypotaxis in Greek corresponds to the development of a huge suite – an extraordinarly large suite in Greek as it happens – of the grammatical tricks of subordination and hence of the subjunctive and of the use of the optative mood in subordinate clauses which allow writers to specify with great precision precisely what are the logical relations between ideas In philosophy it is what allows for the development of logic rhetoric and advanced philosophy in Plato and Aristotle; and in literature for the structural properties of plot used by classical authors 5th cen and later and described by Aristotle in the poetics as the subordination of the parts to the whole in the unity of plot or mythosThis same pattern repeats itself by the way in the move from early Medieval and Renaissance art to the classical art and literature in the West – starting probably with the uattrocento in painting perspectival painting at leastWhat Shattuck points out and this is the central point is that one of the keys to understanding modernism is precisely that the unity of classical composition what he calls ‘transition’ breaks down again – and we return to parataxis which he calls 'juxtaposition' 331ffThis compares with what William Barrett refers to Irrational Man 42 65 as the second of the three great “flattenings” that he identifies as being key to understanding modernism the flattening of planes; the flattening of climaxes with explicit reference to this problem in Aristotle; and the flattening of values In the “flattening of climax” the Aristotelian classical idea of beginning climax and denouement in which the parts are subordinated structurally to the climax or to the central theme are flattened out – and everything all the parts not unlike in Homer gets its own value and spins off in its own direction Think cubismThe result is discontinuity – in style surprise Apollinaire’s word illogicality abruptness obscurity; and philosophically Shattuck writes 338 the “absurd” this “sense of life without links in ‘the discontinuousness of his chopped up sentences’” uoting Sartre’s appraisal of Camus narrative style Sartre commenting on the “white” style of Camus’ L’étranger writes “But what is the postulate implied by this kind of narrative It amounts to this that out of what used to be melodic organization has been made a simple addition of invariable elements; the succession of mere movements is asserted as rigorously identical with the act in its totalitybecause he slyly filters out all significant connectives”

Roger Shattuck Ï 1 SUMMARY

Century Paris who carried the arts into a period of renewal and accomplishment and laid the groundwork for Dadaism and Surrealism Shattuck focuses on the careers of Alfred Ja. Apollinaire Satie Rousseau and Jarry Never the central figures not Picassos or Cezannes perhaps but reliable practitioners cannot be found I don't think you get to Duchamp without these industrious kiddies setting the tone A mad hatter's tea party an atheist's rosy cross a flaming arrow in the forehead of the status uo Visit for the logical dissonance but stay for the majestic sualor Four absolute madmen and their relentless pursuit of the avant in all the itchiest most wine dark and vomit crusted arrondissements of the City Of Light Ooh la la Five stinging grubby winking stars