Gamboni's study . . . expertly dissected the tensions and the connections between the twin creative activities of literature and art in Redon's career. . . . [It] remains a major critical achievement.
Times Literary Supplement Gamboni has succeeded in writing a compelling, sensitive, and enlightening study of an artist whose work is mysterious and difficult to interpret ... Read moreand whose late writings have given scholars a misleading impression of his intellectual development. . . . This important volume will immediately become a standard reference on the artist.
H-France Review The translation of Gamboni's groundbreaking study of Redon is long overdue. When the French version appeared in 1989 it transformed our understanding of Redon, notably the crucial problematic of word-image relations in his work and the place of this in the cultural field of the late nineteenth century. Now revised and updated in the light of recent scholarship, The Brush and the Pen maintains its central place in contemporary debates about fin-de-si cle art, literature, criticism, and institutions. This is a major work of scholarship on one of our most interesting and complex artist-writers, carried out with historical, theoretical, and critical acumen and interpretive insight.
Mich le Hannoosh, University of Michigan Michele Hannoosh, University of Michigan Interest in the work of Odilon Redon has never been stronger than at the present time. Gamboni's splendid study is the fruit of many years' consideration of Redon's diversified and distinctive career, which it situates in the broader context of word and image studies. Indeed, the book can be regarded as a model of how to set the theoretical issues involved in this field within a highly detailed and convincing historical framework.
Stephen Bann, University of Bristol Gamboni combines the skills of the philologist and sociologist, the iconographer and literary historian, the connoisseur and semiotician. His La plume et le pinceau was a fresh and formidable intervention when it first appeared in 1989, but is even more so now, translated and extensively revised. He has taken account of an intervening generation of archival discovery and critical scholarship to expose an artist who sought to construct for himself a myth of autochthony. In exposing that myth, Gamboni has revealed the historical and cultural origins of one of the least understood symbolists, while bringing to light the close but often conflictual relationship between artistic and literary modernism.
Stephen Eisenman, Northwestern University Show Less