![]() Thus far, little academic consideration has been given to the musical events that occurred at idealist art salons the topic has stagnated between studies of the visual arts and musicology. Instead, they aimed to reveal a correspondence between these two different sensory experiences-as Charles Baudelaire had imagined in poetry-and two different embodiments of the same aesthetic ideal. In these salons, the integration of music went beyond bringing together two previously dissociated artistic events (the concert and the art exhibition). Along with different esoteric movements of the time, the idealists were the catalyst of salons, which-like the artists who took part in them-aimed to bring together different artistic practices. This was particularly true for idealist artists, a subset of the multifaceted symbolist movement, characterized by their link to late nineteenth-century esoterism and the deep influence of German composer Richard Wagner (1813–83) on their work. In the 1890s, most of these artists briefly gravitated around French writer and occultist Joséphin Péladan (1858–1918) before losing their vigor in the decades that followed. ![]() Music was a singular and at times dominant focus for symbolists in both countries. ![]() Since the early 1970s, scholarship on symbolism has highlighted the preeminent role of the musical imagination and musical performance in iterations of the movement in France and Belgium. ![]()
0 Comments
Leave a Reply. |