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Machen's popularity in 1920s America has been noted, and his work was an influence on the development of the pulp horror found in magazines like Weird Tales and on such notable fantasy writers as James Branch Cabell, Clark Ashton Smith, Robert E. Howard, [17] Frank Belknap Long (who wrote a tribute to Machen in verse, "On Reading Arthur Machen ...
Machen drew copiously on his own early years in Wales and London, and the book as a whole is an exploration through imagination of a potential fate which he personally avoided. One of the first explorations in fiction of the figure of the doomed artist, who is biographically so much a part of the decadent 1890s.
The Great God Pan is an 1894 horror and fantasy novella by Welsh writer Arthur Machen. Machen was inspired to write The Great God Pan by his experiences at the ruins of a pagan temple in Wales. What would become the first chapter of the novella was published in the newspaper The Whirlwind in 1890.
Pages in category "Works by Arthur Machen" The following 5 pages are in this category, out of 5 total. This list may not reflect recent changes. G. The Great God Pan;
Some art historians consider Francisco de Goya one of the roots of the Decadent movement in Spain, almost 100 years before its start in France. His works were a cry of denouncement against injustice and oppression. However, Ramón Casas and José María López Mezquita can be considered the model artists of this period.
"The White People" is a horror short story by Welsh author Arthur Machen. Written in the late 1890s, it was first published in 1904 in Horlick's Magazine, edited by Machen's friend A. E. Waite, then reprinted in Machen's collection The House of Souls (1906).
The Three Impostors; or, The Transmutations is an episodic horror novel by Welsh writer Arthur Machen, first published in 1895 in The Bodley Head's Keynotes Series. It was revived in paperback by Ballantine Books as the forty-eighth volume of the Ballantine Adult Fantasy series in June 1972.
Ashcan School artists and friends at John French Sloan's Philadelphia Studio, 1898. The Ashcan School was not an organized movement. The artists who worked in this style did not issue manifestos or even see themselves as a unified group with identical intentions or career goals. Some of the artists were politically minded, and others were ...