Awards

• Nominated for Robert Motherwell Book Award 2017

Overview

This provocative study argues that some of the most inventive artwork of the 1890s was strongly influenced by the methods of experimental science and ultimately foreshadowed twentieth-century modernist practices. Looking at avant-garde figures such as Maurice Denis, Edouard Vuillard, August Strindberg, and Edvard Munch, Allison Morehead considers the conjunction of art making and experimentalism to illuminate how artists echoed the spirit of an increasingly explorative scientific culture in their work and processes. She shows how the concept of nature's experiments -the belief that the study of pathologies led to an understanding of scientific truths, above all about the human mind and body-extended from the scientific realm into the world of art, underpinned artists' solutions to the problem of symbolist form, and provided a ready-made methodology for fin-de-siecle truth seekers. By using experimental methods to transform symbolist theories into visual form, these artists broke from naturalist modes and interrogated concepts such as deformation, automatism, the arabesque, and madness to create modern works that were radically and usefully strange. Focusing on the scientific, psychological, and experimental tactics of symbolism, Nature's Experiments and the Search for Symbolist Form demystifies the avant-garde value of experimentation and reveals new and important insights into a foundational period for the development of European modernism.

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9780271076744

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Reviews

Nature's Experiments and the Search for Symbolist Form argues--rightly and boldly--that symbolism's stark formal experiments, which have so often been taken to point the way toward twentieth-century abstraction, were tied to an explorative scientific culture concerned with the status of the modern body and mind and their pathologies. It is the first book to take seriously the semantic proximity between the terms 'form' and 'deformation, ' including the gamut of ethical conundrums stretching between them. In this regard, Nature's Experiments is a revelation, allowing us to see afresh a set of familiar paintings by Denis, Vuillard, and Munch, among others, through period eyes schooled in the scientific language of experiment. --Andre Dombrowski, author of Cezanne, Murder, and Modern Life Nature s Experiments and the Search for Symbolist Form argues rightly and boldly that symbolism s stark formal experiments, which have so often been taken to point the way toward twentieth-century abstraction, were tied to an explorative scientific culture concerned with the status of the modern body and mind and their pathologies. It is the first book to take seriously the semantic proximity between the terms form and deformation, including the gamut of ethical conundrums stretching between them. In this regard, Nature s Experiments is a revelation, allowing us to see afresh a set of familiar paintings by Denis, Vuillard, and Munch, among others, through period eyes schooled in the scientific language of experiment. Andre Dombrowski, author of Cezanne, Murder, and Modern Life

Nature's Experiments and the Search for Symbolist Form argues--rightly and boldly--that symbolism's stark formal experiments, which have so often been taken to point the way toward twentieth-century abstraction, were tied to an explorative scientific culture concerned with the status of the modern body and mind and their pathologies. It is the first book to take seriously the semantic proximity between the terms 'form' and 'deformation, ' including the gamut of ethical conundrums stretching between them. In this regard, Nature's Experiments is a revelation, allowing us to see afresh a set of familiar paintings by Denis, Vuillard, and Munch, among others, through period eyes schooled in the scientific language of experiment. --Andre Dombrowski, author of Cezanne, Murder, and Modern Life

<em>Nature's Experiments and the Search for Symbolist Form</em> argues--rightly and boldly--that symbolism's stark formal experiments, which have so often been taken to point the way toward twentieth-century abstraction, were tied to an explorative scientific culture concerned with the status of the modern body and mind and their pathologies. It is the first book to take seriously the semantic proximity between the terms 'form' and 'deformation, ' including the gamut of ethical conundrums stretching between them. In this regard, <em>Nature's Experiments</em> is a revelation, allowing us to see afresh a set of familiar paintings by Denis, Vuillard, and Munch, among others, through period eyes schooled in the scientific language of experiment. </p>--Andre Dombrowski, author of <em>Cezanne, Murder, and Modern Life</em></p>

Author Information

Allison Morehead is Associate Professor of Art History and Cultural Studies at Queen's University.

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