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While describing the pre-World War I friendship, which defied the pervasive anti-German sentiment and revanchism of the Belle Époque, between French symbolists Paul Verlaine and Stéphane Mallarmé and young and aspiring German symbolist poet Stefan George, Michael and Erika Metzger have written, "For the Symbolists, the pursuit of 'art for ...
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]
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.
Verlaine's birthplace in Metz, today a museum dedicated to the poet's life and artwork. Paul-Marie Verlaine (/ v ɛər ˈ l ɛ n / vair-LEN; [1] French: [pɔl maʁi vɛʁlɛn]; 30 March 1844 – 8 January 1896) was a French poet associated with the Symbolist movement and the Decadent movement.
From 1921 George spent his summers in the hills on the south-western edge of Frankfurt at this house in Königstein, where he was attended by his sister, Anna.. Stefan Anton George (German: [ˈʃtɛfan ˈʔantoːn ɡeˈ(ʔ)ɔʁɡə]; 12 July 1868 – 4 December 1933) was a German symbolist poet and a translator of Dante Alighieri, William Shakespeare, Hesiod, and Charles Baudelaire.
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.
Later it went on to achieve some success in Eastern Europe. There was a translation by S.A. Polyakov in 1908 in the Russian symbolist magazine, Vesy, [26] followed by another into Ukrainian by Maksym Rylsky in 1918. [27] The play appealed particularly to the new mood of resistance to established norms that followed the turmoil of World War 1.