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Daniel Grojnowski
Huysmans, Moreau, Salomé
La fin du « moderne »
Littératures
As an art critic challenging the academic painters of the official Salons, Huysmans positioned himself within Modern Art as a promoter of the Impres-sionists. The partiality for Gustave Moreau, that Huysmans was to display in A Rebours, marks his rupture with Zola and his circle. By turning toward an official painter hostile to any form of ...



Lille 1 Lille 2 Lille 3 Université du littoral, côte d'Opale Université Valenciennes Hainaut Cambrésis Université Catholique de Lille