Thus, literature and painting in the 20th cen. It needs no external world, and indeed replaces the external world as an object of attention. If all knowledge is subjective (as modern epistemologies suggests: Bergson/Coleridge), then art may come to embody its own reality (and its own infinity). art has thus tended to search itself rather than exterior reality for the beauty of meaning or truth, a condition that entails relationships between author, audience, work, and world. The form of a work of art can imply this inward direction, as the work itself becomes the means or locus of the search. began with a “spiritual revival”, as man began to search for the divinity within himself. There are two keys, Shattuck thinks, to modernism - in a formal or technical sense.įirst (pp.
What follows are simple notes (poorly digested, or at least carelessly thrown together - so please excuse) from a quick reread of the chapter. 11-12), the book contains detailed studies of the personalities and art of Henri Rousseau (1844-1910) Erik Satie (1866-1925) Alfred Jarry (1873-1907) Guillaume Apollinaire (1880-1918). 1-2), and an illuminating conclusion (chs. In addition to a detailed introduction (chs. (I've now reread the important chapter 11, and so will append my notes, in case they should prove useful to anyone - apologies in advance for whatever typos/errors there are - I don't have the patience to proofread most of the time.)įirst let me say this is an excellent book - probably the best I've read so far on the topic.
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