Modesty Blaise 29 - Take Me To Your Leader by Peter O'Donnell (writer) and Jim Holdaway (art) PDF

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By Peter O'Donnell (writer) and Jim Holdaway (art)

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Behrexls sudaee is elearEy present in a&ist;r;as different as Redon, Seurat and Munch, each related to symbolism in his own way, m e n it is missirtg, even in the work of an avowed symbolist such as Paul Ranson, it inclines his wsrk h the diredion of art nouveau, as it does again ixr many of the desiws of Ceorges de Fewe. 1. This distinction between the real flatness of art nouveau (with Its consequent acceptance of sensuous materiality) and the symbolist tension between work and image (with the resulting ambivalence of image and idea) is bound up with a dB'erenee in the kind of Iine aq they use.

So d r a m in upon themselves and resigned to their isolated selfLpreoccupation. This sort of inwardness was very much a part of the symbolist" sti-material concerns, of his desire to express mood rather than inkraction with the worldt and it ex- 3 8. Melancholg, r 893. Munch plains the restrained and static character of much symbolist art. But such (pessimislic) self-reliance was generally not spelled out in any explicit iconography; indeed to do so wauXd have been in some measure to reject those prornptings of the unconscious so important; to symbolist expression.

The use of such attributes is in partial contradiction to the avowed purposes of symbolism. Beeaug their meanings are known and established they are at once recognized and are read as part of a vocabulary rather than being felt through the more i and less literary medium of an expressive form, For this reason symbolism's use of the details of nature to convey its meanings is usually mueh less specific ind tries to depend more upon common. human experience and association than upon a learned iconography.

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