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Updated: June 6, 2025
She and the Professor were just sitting down to an early breakfast on the morning of the garden-party, which had been arranged for the day but one after the arrival of the Huysmans, when the post came in. There were a good many letters for both, for each had many interests in life.
"When our human imagination seeks to animate artificial things," Huysmans writes in L
Being aware of the fact that, from trade jealousies, there had hitherto been a somewhat notorious bitterness of feeling between my German fellow-trader and the two Americans, I shook his hand warmly, said that I was delighted to see that he could forgive and forget, and that I should that moment send my boat across the lagoon to Devine and Charley de Buis with a written invitation, and ask them to favour us with their company; also, that as Mrs Charley who was a Samoan half-caste girl was skilled in baking bread, perhaps she would lend Mesdames MacBride, Wolfen and Huysmans her assistance in making a Christmas cake, the size of which should cause the native population to sit up and respect us as men of more than ordinary intelligence and patriotism.
A spirited protest against this poisonous endeavour was published by a number of Belgians, including Camille Huysmans, who refused to accept any favours from the Germans. Meanwhile, in Germany the work of organization went steadily forward.
I believe it was there that Zola went to study the French peasant before he wrote "La Terre." Huysmans, with that benevolent malice so characteristic of him, used to say that Zola's investigation was limited to going out once for a drive in a carriage with Madame Zola.
What Hugo did for French verse, Flaubert, Goncourt, Zola, and Huysmans have done for French prose. No more literary school than the realists has ever existed, and I do not except even the Elizabethans.
The coloured vowels of Arthur Rimbaud, which must be taken as a poet's crazy prank; the elaborate treatises by René Ghil, which are terribly earnest; the remarks that one often hears, such as "scarlet is like a trumpet blast"; certain pages of Huysmans, all furnish examples of this curious muddling of the senses and mixing of genres.
I handed over on this occasion to our secretary, Camille Huysmans, an appeal to the democrats of the entire world, in which the Executive Committee indicated clearly its position in the questions of the world war and of agrarian reform, and vindicated its place in the Workers' and Socialist International family. I must also present to you the author of this report.
In 1860 or thereabout he visited America, and in New Orleans he saw the subject of his Interior of a Cotton Factory, which was shown as an historical curiosity at the Paris exposition in 1900. While it is implacably realistic there is little hint of the future Degas. The name of the painter was in every French painter's mouth, and the brilliant article of Huysmans concentrated his fame. Huysmans it was who first saw that Degas had treated the nude as Rembrandt would if he had been alive making allowances for temperamental variations. Degas knew that to grasp the true meaning of the nude it must be represented in postures, movements which are natural, not studio attitudes. As Monet exposed the fallacy of studio lighting, so Degas revealed the inanity of its poses. Ibsen said the stage should be a room with the fourth wall removed; Degas preferred the key-hole through which we seem to peep upon the privacy of his ugly females bathing or combing their hair or sleeping, lounging, yawning, quarrelling, and walking. The simian and frog-like gestures and sprawling attitudes are far from arousing amiable sensations. These poor, tired women, hard-working laundresses, shopgirls, are not alluring, though they are not as hideous as the women of Cézanne or Edvard Münch; but the veracity of the "human document" (overworked phrase!) is there. Charles Morice has said that to Cézanne a potato was as significant as a human countenance. The pattern interested him in both. For Degas the beauty of life lies in the moving line. He captures with ease the swift, unconscious gesture. His models are never posed. They are nature caught in the act. There is said to be a difference between the epidermis of the professional model and the human who undresses only to go to bed. Degas has recorded this difference. What an arraignment of the corset are the creased backs and gooseflesh of his nudes! What lurking cynicism there is in some of his interiors! Voil
"Only the chaste can be really obscene," said Huysmans. And on a higher plane, only the chaste can really love. This purity was difficult to preserve in those unsure days; it was rare and unusual. From this rarity rose the superstition of supernatural power residing in the virgin.
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