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Synesthesia was a prized experience; poets sought to identify and confound the separate senses of scent, sound, and colour. In Baudelaire 's poem Correspondences (which mentions forêts de symboles ("forests of symbols") and is considered the touchstone of French Symbolism): [ 10 ]
Russian symbolism had begun to lose its momentum in literature by the 1910s as many younger poets were drawn to the acmeist movement, which distanced itself from excesses of symbolism, or joined the futurists, an iconoclastic group which sought to recreate art entirely, eschewing all aesthetic conventions.
Régnier married Marie de Heredia, daughter of the poet José María de Heredia, and herself a novelist and poet under the pen name of Gérard d'Houville. [1] Henri de Régnier in April 1895 edition of The Bookman (New York City) He was a contributor to Le Visage de l'Italie, a 1929 book about Italy prefaced by Benito Mussolini. [2]
Just as in poetry the rhythm of words served to express a transcendent meaning, in painting they sought ways for color and line to express ideas. In this movement, all the arts were related and thus the painting of Redon was often compared to the poetry of Baudelaire or the music of Debussy. [1]
Alexandru Macedonski (Romanian pronunciation: [alekˈsandru mat͡ʃeˈdonski]; also rendered as Al. A. Macedonski, Macedonschi or Macedonsky; 14 March 1854 – 24 November 1920) was a Romanian poet, novelist, dramatist and literary critic, known especially for having promoted French Symbolism in his native country, and for leading the Romanian Symbolist movement during its early decades.
Pierre Quillard (14 July 1864 – 4 February 1912) was a French symbolist poet, playwright, literary critic, philosopher, Hellenist translator, and journalist.As a thinker and anarchist activist, he stood as one of the early proponents of the Armenophile movement in France, notably through his bimonthly publication, Pro Armenia.
The 1878 Pornokratès by Belgian artist Félicien Rops. The Decadent movement (from the French décadence, lit. ' decay ') was a late 19th-century artistic and literary movement, centered in Western Europe, that followed an aesthetic ideology of excess and artificiality.
In 1942, three years after the start of World War II, Ungaretti returned to Axis-allied Italy, where he was received with honors by the officials. [8] The same year, he was made a Professor of Modern Literature at the University of Rome. [9] He continued to write poetry, and published a series of essays. [8]