{"id":3666,"date":"2008-11-08T01:18:31","date_gmt":"2008-11-08T01:18:31","guid":{"rendered":"http:\/\/www.johncoulthart.com\/feuilleton\/2008\/11\/08\/le-sphinx-mysterieux\/"},"modified":"2020-11-13T22:13:48","modified_gmt":"2020-11-13T22:13:48","slug":"le-sphinx-mysterieux","status":"publish","type":"post","link":"https:\/\/www.johncoulthart.com\/feuilleton\/2008\/11\/08\/le-sphinx-mysterieux\/","title":{"rendered":"Le Sphinx Myst\u00e9rieux"},"content":{"rendered":"

\"sphinx.jpg\"<\/a><\/p>\n

Le Sphinx Myst\u00e9rieux (1897). <\/em><\/p>\n

Charles van der Stappen’s most impressive sculptural work and one I missed including in this earlier post<\/a>. Van der Stappen doesn’t seem to have done anything else like this which is a shame as it’s a very striking fin de si\u00e8cle<\/em> image, conveying a sense of enigma without resorting to the usual human\/animal hybrids; Sarah Bernhardt<\/a> would have loved the costume. This picture was swiped from Beautiful Century <\/a>and Mariana took it from the book with the best reproduction I’ve seen to date, Gabriele Fahr-Becker’s Art Nouveau<\/em><\/a>.<\/p>\n

Previously on { feuilleton }
\n\u2022 La belle sans nom<\/a>
\n\u2022 The Feminine Sphinx<\/a>
\n\u2022 Le Monstre<\/a>
\n\u2022 Carlos Schwabe\u2019s Fleurs du Mal<\/a>
\n\u2022 Empusa<\/a><\/p>\n","protected":false},"excerpt":{"rendered":"

Le Sphinx Myst\u00e9rieux (1897). Charles van der Stappen’s most impressive sculptural work and one I missed including in this earlier post. Van der Stappen doesn’t seem to have done anything else like this which is a shame as it’s a very striking fin de si\u00e8cle image, conveying a sense of enigma without resorting to the … Continue reading “Le Sphinx Myst\u00e9rieux”<\/span><\/a><\/p>\n","protected":false},"author":1,"featured_media":0,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"jetpack_post_was_ever_published":false,"_jetpack_newsletter_access":"","_jetpack_dont_email_post_to_subs":false,"_jetpack_newsletter_tier_id":0,"_jetpack_memberships_contains_paywalled_content":false,"_jetpack_memberships_contains_paid_content":false,"footnotes":"","jetpack_publicize_message":"","jetpack_publicize_feature_enabled":true,"jetpack_social_post_already_shared":false,"jetpack_social_options":{"image_generator_settings":{"template":"highway","default_image_id":0,"font":"","enabled":false},"version":2}},"categories":[58,2,41,45],"tags":[3476,136,963],"class_list":["post-3666","post","type-post","status-publish","format-standard","hentry","category-art-nouveau","category-art","category-sculpture","category-symbolists","tag-beautiful-century","tag-fin-de-siecle","tag-sarah-bernhardt"],"jetpack_publicize_connections":[],"jetpack_featured_media_url":"","jetpack_shortlink":"https:\/\/wp.me\/pq7rV-X8","jetpack_sharing_enabled":true,"_links":{"self":[{"href":"https:\/\/www.johncoulthart.com\/feuilleton\/wp-json\/wp\/v2\/posts\/3666","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/www.johncoulthart.com\/feuilleton\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/www.johncoulthart.com\/feuilleton\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/www.johncoulthart.com\/feuilleton\/wp-json\/wp\/v2\/users\/1"}],"replies":[{"embeddable":true,"href":"https:\/\/www.johncoulthart.com\/feuilleton\/wp-json\/wp\/v2\/comments?post=3666"}],"version-history":[{"count":0,"href":"https:\/\/www.johncoulthart.com\/feuilleton\/wp-json\/wp\/v2\/posts\/3666\/revisions"}],"wp:attachment":[{"href":"https:\/\/www.johncoulthart.com\/feuilleton\/wp-json\/wp\/v2\/media?parent=3666"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/www.johncoulthart.com\/feuilleton\/wp-json\/wp\/v2\/categories?post=3666"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/www.johncoulthart.com\/feuilleton\/wp-json\/wp\/v2\/tags?post=3666"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}