L'Ymagier, subtitled "A Magazine of Engravings", was a French symbolist art magazine edited by Alfred Jarry and Remy de Gourmont between 1894 and 1895. It ran for five issues and disbanded one year after its first printing, but in that time it published many prints and engravings by influential artists of the time, including Henri Rousseau.
Jarry, a French playwright and artist, and Gourmont, a novelist and poet of the same nationality, had worked in woodcuttings for many years before they joined together to form the magazine, although both men were so poor at times that they were forced to experiment with other mediums, such as linoleum and soap for their cuttings. Jarry had also been fascinated with the editorial aspects of publication since he, Francois Coulon and Louis Lormel had collaborated on L’Art Litteraire in 1893–94, which Jarry contributed to and Lormel edited. Jarry and Gourmont founded their own magazine in 1894 with a modest fortune, thus giving them a venue through which they would have complete artistic control over the expression and presentation of both their art and their interests.
Jarry wrote in L’Ymagier of the power of the direct and archetypal symbol, and set about comparing those symbols, such as the Passion and the Virgin Mary to the deliberately primitive pieces of Paul Gauguin and Émile Bernard, as well as many of his own works. The theme of the universal, primitive, and often childish forces at work in art and society was one that both Jarry and Gourmont would revisit often in their own writing and artwork, particularly in Jarry's most famous play "Ubu Roi." The two also attempted to impress in their magazine the rejection of an optical reality, and instead tried to return art to a place of cult and ritual, hence the heavy religious imagery which peppered several of the issues.
The first issue was published in October 1894, and was entitled "The Passion" as it contained many woodcuttings depicting the Passion of Christ. It was filled with elaborate and striking religious imagery, yet it was followed shortly by the shockingly graphic and unusual issue "Monsters" in January 1895. Following that was an issue in April 1895 entitled "The Virgin and Christ Child" and then a revisiting of "The Passion" in July of the same year. The final issue, published in October 1895 was the most sparse of all. It was entitled "Gingerbread Figures" and contained only five pictures, four published under the name Alain Jans, Jarry's nom-de-plume, and one which was unsigned. Shortly after this issue Jarry and Gourmont separated and the magazine quietly died out.
Aside from Jarry and Gourmont, L'Ymagier published engravings from Gauguin, Bernard, Francois Georgin, a renowned woodcutter of the day, and Henri Rousseau who developed the status of cult artist due to his work in the magazine and was consistently one of its most popular contributors.
Following his father's death in 1895 Jarry used his inheritance to found Perhinderion, a journal whose title is a Breton word for pilgrimage. The journal was dedicated to juxtaposing conflicting elements often seen separately in art, such as intellectuality and naiveté, as well as presenting the complete works of Albrecht Dürer, a 15th-century painter and printmaker from Germany. Special attention was paid to Dürer's Saint Catherine which is highly symbolist in the way it moves between the formal and the hallucinatory. Jarry declared in the first issue of Perhinderion that the reproductions of the woodcuts would be photoengraved ... without reducing their size, and struck ... on laid paper, which is the most similar to the original paper." This, along with the lavish format, led production costs to be so high that publication was discontinued after only two issues. Though short lived, Jarry and Gourmont's work in L’Ymagier and the magazine's highly symbolist style influenced many artists and writers of the early 20th century, notably Pablo Picasso and Max Jacob, who would build on Jarry and Gourmont's work in symbolism through Surrealism and Dadaism in the 1900s.
Stabenow, Cornelia. “Henri Rousseau, 1844-1910.” Taschen, 2001. L’Ymagier from the Remy de Gourmont web page. L’Ymagier exhibit at the University of Kansas’s Spencer Museum of Art. Arrivé, Michel. Les Langages de Jarry. Klincksieck, 1972. LaBelle, Maurice Marc. Alfred Jarry - Nihilism and the Theater of the Absurd. New York University Press, 1980.
Alfred Jarry was a French symbolist writer who is best known for his play Ubu Roi (1896), often cited as a forerunner of Dada and the Surrealist and Futurist movements of the 1920s and 1930s. He also coined the term and philosophical concept of 'pataphysics.
Albrecht Dürer, sometimes spelled in English as Durer, was a German painter, printmaker, and theorist of the German Renaissance. Born in Nuremberg, Dürer established his reputation and influence across Europe in his twenties due to his high-quality woodcut prints. He was in contact with the major Italian artists of his time, including Raphael, Giovanni Bellini, and Leonardo da Vinci, and from 1512 was patronized by Emperor Maximilian I.
Eugène Henri Paul Gauguin was a French Post-Impressionist artist. Unappreciated until after his death, Gauguin is now recognized for his experimental use of colour and Synthetist style that were distinct from Impressionism. Toward the end of his life, he spent ten years in French Polynesia. The paintings from this time depict people or landscapes from that region.
Symbolism was a late 19th-century art movement of French and Belgian origin in poetry and other arts seeking to represent absolute truths symbolically through language and metaphorical images, mainly as a reaction against naturalism and realism.
Remy de Gourmont was a French symbolist poet, novelist, and influential critic. He was widely read in his era, and an important influence on Blaise Cendrars and Georges Bataille. The spelling Rémy de Gourmont is incorrect, albeit common.
Max Weber was a Jewish-American painter and one of the first American Cubist painters who, in later life, turned to more figurative Jewish themes in his art. He is best known today for Chinese Restaurant (1915), in the collection of the Whitney Museum of American Art, "the finest canvas of his Cubist phase," in the words of art historian Avis Berman.
Paul-Élie Ranson was a French painter and writer associated with Les Nabis.
Félix Henri Bracquemond was a French painter, etcher, and printmaker. He played a key role in the revival of printmaking, encouraging artists such as Édouard Manet, Edgar Degas and Camille Pissarro to use this technique.
Sebald Beham (1500–1550) was a German painter and printmaker, mainly known for his very small engravings. Born in Nuremberg, he spent the later part of his career in Frankfurt. He was one of the most important of the "Little Masters", the group of German artists making prints in the generation after Dürer.
Ambroise Vollard was a French art dealer who is regarded as one of the most important dealers in French contemporary art at the beginning of the twentieth century. He is credited with providing exposure and emotional support to numerous then-unknown artists, including Paul Cézanne, Aristide Maillol, Pierre-Auguste Renoir, Louis Valtat, Pablo Picasso, André Derain, Georges Rouault, Paul Gauguin, and Vincent van Gogh.
The Mercure de France was originally a French gazette and literary magazine first published in the 17th century, but after several incarnations has evolved as a publisher, and is now part of the Éditions Gallimard publishing group.
Joachim and Anne Meeting at the Golden Gate is a 1504 woodcut by the German artist Albrecht Dürer that depicts the standard scene of Joachim and Anne Meeting at the Golden Gate. In the woodcut, the parents of the Virgin Mary, Joachim, and Anne meet at the Golden Gate of Jerusalem, upon learning that she will bear a child.
The Apocalypse, properly Apocalypse with Pictures, is a series of fifteen woodcuts by Albrecht Dürer published in 1498 depicting various scenes from the Book of Revelation, which rapidly brought him fame across Europe. These woodcuts likely drew on theological advice, particularly from Johannes Pirckheimer, the father of Dürer's friend Willibald Pirckheimer.
Knight, Death and the Devil is a large 1513 engraving by the German artist Albrecht Dürer, one of the three Meisterstiche completed during a period when he almost ceased to work in paint or woodcuts to focus on engravings. The image is infused with complex iconography and symbolism, the precise meaning of which has been argued over for centuries.
Spirit of the Dead Watching (Manao tupapau) is an 1892 oil on burlap canvas painting by Paul Gauguin, depicting a nude Tahitian girl lying on her stomach. An old woman is seated behind her. Gauguin said the title may refer to either the girl imagining the ghost, or the ghost imagining her.
The Pension Gloanec was an inn in Pont-Aven, Brittany, France, that was a base for artists of the Pont-Aven School in the last half of the 19th century. It was known for economical but excellent quality food, where the diners served themselves from shared dishes set out on a long table in the dining room. There were few rooms, so most of the artists boarded elsewhere in the town. Its most famous resident was Paul Gauguin who stayed several times between 1886 and 1894. Today the building houses a bookstore, gallery and exhibition space.
L'Estampe originale was a French periodical publishing portfolios of original prints in a limited edition of 100 for subscribers. It produced nine issues quarterly between 1893 and 1895, containing a total of 95 original prints by a very distinguished group of 74 artists, including Henri de Toulouse-Lautrec, Gauguin, Renoir, Pissarro, Whistler, Paul Signac, Odilon Redon, Rodin, Henri Fantin-Latour, Félix Bracquemond, Félicien Rops and Puvis de Chavannes. Almost all of Les Nabis contributed: Pierre Bonnard, Maurice Denis, Paul Ranson, Édouard Vuillard, Ker-Xavier Roussel, Félix Vallotton, and Paul Sérusier. British artists included William Nicholson, Charles Ricketts, Walter Crane and William Rothenstein; besides Whistler, Joseph Pennell was the only American.
Symbolist painting was one of the main artistic manifestations of symbolism, a cultural movement that emerged at the end of the 19th century in France and developed in several European countries. The beginning of this current was in poetry, especially thanks to the impact of The Flowers of Evil by Charles Baudelaire (1868), which powerfully influenced a generation of young poets including Paul Verlaine, Stéphane Mallarmé and Arthur Rimbaud. The term "symbolism" was coined by Jean Moréas in a literary manifesto published in Le Figaro in 1886. The aesthetic premises of Symbolism moved from poetry to other arts, especially painting, sculpture, music and theater. The chronology of this style is difficult to establish: the peak is between 1885 and 1905, but already in the 1860s there were works pointing to symbolism, while its culmination can be established at the beginning of the First World War.
Between the late 18th and early 19th centuries, the foundations of contemporary society were laid, marked in the political field by the end of absolutism and the establishment of democratic governments—an impulse that began with the French Revolution—and, in the economic field, by the Industrial Revolution and the consolidation of capitalism, which would have a response in Marxism and the class struggle. In the field of art, an evolutionary dynamic of styles began to follow one another chronologically with increasing speed, culminating in the 20th century with an atomization of styles and currents that coexist and oppose, influence and confront each other. The century began with the survival of Neoclassicism, a movement succeeded by Romanticism, Realism, Impressionism, Modernism and Symbolism.