Wildeana 3

teleny.jpg

Some recent pieces of Wilde news. The cover above is for a new edition of Teleny and Camille, Jon Macy‘s comic strip adaptation of the erotic novel attributed to Oscar Wilde and members of his Uranian circle:

Teleny is the haunted musical genius that everyone desires but no one has truly touched… until the fateful night that he senses Camille’s presence in the audience. The wealthy young man is instantly seduced by Teleny’s dark beauty and smoldering melancholy. This groundbreaking and powerful early gay novel, written in secret by Oscar Wilde and his anonymous circle of writers, is now re-interpreted as a graphic novel, in all its lush, pansexual excess.

I wrote something about the novel last year. I’m not convinced that Wilde penned the whole thing but I can see places where he may have contributed. There’s a marvellous scene in an all-white room, for example, which seems inspired by the obsessive decor in Des Esseintes’ house from À rebours, the novel which had a great influence on Dorian Gray (both book and character). I’d been intending on writing something substantial about Macy’s adaptation all summer but failed dismally due to a deluge of deadlines. Suffice to say it’s a very accomplished and (most important) erotic work, doing full justice to a story that makes many later erotic novels seem timid and evasive. The drawings are black-and-white throughout which gives a Beardsley-like quality in places, and Macy conveys a period feel without fretting over details as I’m afraid I’d be tempted to do. Northwest Press have published the new edition and have a selection of reviews here.

For the other Wildeana, Lambda Literary had a review of a new book by Matthew Hofer and Gary Scharnhorst, Oscar Wilde in America: The Interviews which sounds like another essential purchase. And the Independent had this story about a sale of Wilde letters which included one to a magazine editor that may be read as a proposition. Readers of Neil McKenna’s The Secret Life of Oscar Wilde will be familiar with the form and know that there’s no “maybe” about it; Priapus was calling.

Elsewhere on { feuilleton }
The gay artists archive
The Oscar Wilde archive

Diaghilev’s World of Art

miriskusstva1.jpg

Cover by Evgeny Lanceray for Prospectus of the Magazine, 1901.

Previous posts here have concerned fin de siècle art magazines like The Savoy, Pan and Jugend; yesterday we had Sergei Diaghilev so it seems fitting to mention Diaghilev’s own magazine, Mir Iskusstva (World of Art), founded in 1899 with similar intentions to the European magazines which were highlighting developments in art beyond the academic sphere. Mir Iskusstva was also the name of the Russian art group who used the magazine as their forum, and a number of the artists involved in the movement, notably Léon Bakst, Ivan Bilibin and Nicholas Roerich, went on to work for Diaghilev at the Ballets Russes.

miriskusstva2.jpg

Cover by Léon Bakst for Mir iskusstva #8 (1902).

I find this later development especially fascinating since it positions the magazine as a precursor to the groundbreaking works which followed rather than being—as so many periodicals were and still are—a publication which had its moment of glory then faded from view. Of the works shown here, Vrubel’s Symbolist Demon, one of several painted by the artist, was featured in a 1903 edition of the magazine, whilst the Bakst painting, depicting the destruction of Atlantis, shows a Symbolist side to an artist who later became far better known for his Ballets Russes costume designs.

vrubel.jpg

Demon (1902) by Mikhail Vrubel.

Unlike the other magazines mentioned above, I’ve yet to come across a cache of whole editions of Mir Iskusstva (and I’m still waiting for Ver Sacrum to turn up somewhere). This page has an overview of the Russian art movement and its journal, while this page has a selection of works by the artists involved. For more of Vrubel’s work, Wikimedia Commons has the best collection of the artist’s paintings and sculpture.

bakst.jpg

Terror Antiquus (1908) by Léon Bakst.

Previously on { feuilleton }
Diaghilev and the Ballets Russes
Pamela Colman Smith’s Russian Ballet
The art of Ivan Bilibin, 1876–1942
Magic carpet ride
Le Sacre du Printemps
Images of Nijinsky

Diaghilev and the Ballets Russes

diaghilev1.jpg

Ida Rubinstein as Zobeide and Vaslav Nijinsky as the Golden Slave in Schéhérazade (1913) by George Barbier.

Another great exhibition at the V&A, London, Diaghilev and the Ballets Russes gathers a wealth of costumes, stage designs, photographs and ephemera—including some of Stravinsky’s manuscripts—to present a history of the legendary ballet company and their visionary impresario. For those who can’t get to London the museum website shows some of the items which will be on display, and there’s also a blog about the installing of the exhibition. The enormous frontcloth from 1924 based on Picasso’s Two Women Running on the Beach received a flurry of attention in the press here but my own attention was caught by the picture of Natalia Goncharova‘s even more enormous backcloth for The Firebird. The exhibition runs to January 9, 2011.

diaghilev2.jpg

Cover of Le Théatre showing Tamara Karsavina in costume as the Firebird, May 1911.

While we’re on the subject, a new biography of the impresario, Diaghilev: A Life by Sjeng Scheijen, was reviewed last week in the New York Times:

Diaghilev loved beautiful young men, and at a time when the fashion in ballet was to exchange patronage for sex, his company provided a bounty. Scheijen dexterously plays his sources against one another to examine the erotic and professional dynamics between Diaghilev and his stars.

For a fictional (and necessarily heterosexual) account of those erotic and professional dynamics, I recommend Michael Powell & Emeric Pressburger’s The Red Shoes (1948) which not only has a central character based on Diaghilev but includes among the cast of real dancers Léonide Massine, dancer and principal choreographer of the Ballets Russes from 1915 to 1921.

See also:
Russian Ballet History | An archive and documentary site.

Previously on { feuilleton }
Pamela Colman Smith’s Russian Ballet
The art of Ivan Bilibin, 1876–1942
Jack Cardiff, 1914–2009
Magic carpet ride
Le Sacre du Printemps
Images of Nijinsky

Weekend links 31

bock.jpg

One of a series of illustrations by Vera Bock for A Ring and a Riddle (1944) by M.Ilin and E. Segal. Via A Journey Round My Skull.

The Creator of Devotion: Photos from a Vogue Hommes Japan feature by Matthew Stone. And also here.

Dressing For Pleasure: Jonny Trunk gets out the rubber gear. Related: King of Kinky.

Salvator Rosa (1615–1673) is having a show at the Dulwich Picture Gallery, London.

Hackney Dissenting Academy #1: Throbbing Gristle, Iain Sinclair & Alan Moore.

Out Of The Flesh (1984) by Chakk. A great single never reissued on CD.

• Photographer Charles Gatewood remembers William Burroughs.

mural.jpg

The Endless Mural. Follow links here to have a play around.

Vinyl record sales are at the top of a four-year sales trend.

Can explosions move faster than the speed of light?

• Buckminster Fuller’s Dymaxion Car is reborn.

• Maximus Clarke talks with William Gibson.

Why Stephen Fry loves Wagner.

Kafka’s Last Trial.

• Alice Coltrane in concert, Warsaw, 1987: Harp solo | Impressions | Lonnie’s Lament | A Love Supreme.

The art of Karel de Nerée tot Babberich, 1880–1909

babberich1.jpg

Judith (no date).

Another Decadent type who died young, de Nerée was a Dutch artist and illustrator whose work in these pictures owes a great deal to Aubrey Beardsley. As Beardsley-influenced pieces go they’re rather crude, although it’s unfair to be too judgemental since there’s so little of his work available to see online. Following yesterday’s post, it’s inevitable that he produced a Salomé picture of his own but there’s no sign of that, the curiously space-age (or alien) Judith above is the closest you’ll get.

babberich2.jpg

Introduction to Extaze (1900-01).

On the strength of these drawings I’d probably have de Nerée down as a post-Beardsley pasticheur similar to Alastair (aka Hans Henning Voigt) but there’s another side to his output evident in his painted works which show a far more assured Symbolist style, with a figurative approach closer to another Dutch artist of the period, Jan Toorop. It’s a shame the photos there are little more than snapshots, I’d like to see more of these. The Wikipedia article has a couple more drawings, and there’s another Beardsley-esque piece here.

babberich3.jpg

La musique (1904).

Elsewhere on { feuilleton }
The illustrator’s archive

Previously on { feuilleton }
More decorated books from the Netherlands