This is a guest post for Silent London by the Lumière Sisters, a collective of writers who hang out over at the Chiseler.
The Victorians were falling away. And with them a withered system of reality embodied in overwrought virtuoso performances. Technique as a means of reflecting Nature – or, to quote Balzac, the “conjugation of objects with light” – was displaced, uncrowned by painters pursuing a darker mirror, a diabolical truth for smashing the mendacity of a bloodless representational art.
It was finally time for Edgar Allan Poe’s crepuscular light to shine. Not solely via accepted modes but written alchemically in cinematographic rays beamed through silver salts. Filmmaking is the darkest and unholiest of arts (done right, that is), and the director was emerging now – supreme pimp to a coterie of fallen angels, nymphs and sirens.
Modernism began materialising, slowly and unevenly at first, as an answer to 19th-century illusionism. The rank trickery of which academic art’s heroes lay dead and dying – granting Poe a new, posthumous plasticity to actualise delirium, converting it from literature into an art… art worthy of the name. And here, the “Decadents” became forerunners. Consider Surrealism, its nose-dive into the gulf of interiority, as a bequest from Poe – via his greatest interpreter.
In Odilon Redon’s Germination (1879), a wan, baleful, free-floating arabesque of heads of indeterminate gender suggests either a linear, ascending involution, or a terrifying descent from an unlit celestial void into a bottomless pit of an all-too-human, devolving identity. Redon’s disembodied heads gradually take on more human characteristics, culminating into a black haloed portrait in profile. The cosmos of Redon’s etching is governed by an unexplained, inexplicable moral sentience, which absorbs the power of conventional light. Thus black is responsible for building its essential form, while glimmers of white, hovering above and below, prove ever elusive; registering as somehow elsewhere, beyond the otherwise tenebrous unity of the picture plane; adding to the depth of its unsettling dimensions.