Professional Documents
Culture Documents
Author(s): J. B. Bullen
Source: The Burlington Magazine, Vol. 141, No. 1160 (Nov., 1999), pp. 665-675
Published by: The Burlington Magazine Publications Ltd.
Stable URL: http://www.jstor.org/stable/888554
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J.B. BULLEN
Byzantinism and
modernism
1900-14*
12. Leisure,
by BorisAnrep. 1952. Floor mosaic. (Northvestibuleof the National Gallery,London).
ONE of Boris Anrep's mosaics in the north vestibule of the
National Gallery in London depicts T.S. Eliot contemplating
Einstein's famous mathematical formula e=mc2 (Fig.12). The
ancient medium in which Anrep chose to depict the alliance
of modern poetry and modern science provides an appropriate emblem for the early twentieth-century fascination with
Byzantine art.' Eliot's own work contains just one reference
to Byzantium. It occurs in the poem of 1920 in French, 'Lune
de Miel', in which two unhappy and uncomfortable newlyweds pass through Ravenna. Eliot contrasts the couple with
the Byzantine figure of St Apollinaris - stiff and ascetic ('raide
et ascetique')
who is walled up in the crumbling stones ('pierres
of his church, 'which still holds . . . the precise
ecroulantes')
form of Byzantium' ('tientencore... laformeprecisedeByzance'),2
and in a rapid series of sharp images Eliot contrasts the fretful irritations of daily life with the cool, austere 'geometric' art
of Byzantium.
Roger Fry, commenting in this Magazine in 1923 on the
modern enthusiasm for Byzantium, had high praise for
Anrep's mosaics. Selecting a daringly contemporary series
of mosaics entitled Scenesin the life of a lady offashion (Fig.13)
for the home of William and LesleyJowitt at 35 Upper Brook
Street, London,' he remarked that Anrep was 'able to treat
a completely modern theme ... with exactly the same sense
of the monumental and resistant qualities of the medium as
the Byzantine mosaicists displayed'.4In this way mosaic took
*I am most gratefulfor the adviceof MarkAntliff,JacquelineCox, Anna GreutznerRobins, Richard Shone and Susan Sinclair. Fig.18 is copyright 1961 Estate of
VanessaBell;Fig.23 is copyrightEstateof Mrs G.A. WyndhamLewis.
'Though the Eliot portraitwas not finisheduntil 1952, it is part of a projectwhich
'Ibid.,pp.272-73.
"Rankeand Mommsenhad dispelledthe mythof a thousand-yearByzantinedecline
promulgatedby Gibbon and Voltaire,and after the 1860s Byzantinehistorywas
given respectabilityby AlfredRambaudin France,Vasilij.G. Vasiljevskijin Russia,
Karl Krumbacherin Germany,and J.B. Bury in Britain. In 1892 Krumbacher
followedin
establishedthe firstjournal for Byzantinestudies,Byzantinische
ZeitschriJf,
1897 by CharlesDiehl and GabrielMillet'sEtudesByzantins.
Importantmonographs
MORHANGE:
FRY: 'Modern Mosaic and Mr. Boris Anrep', THE BURLINGTONMAGAZINE, XXXII
[1923], p.277.
RICHTER:
Die MosaikenvonRavenna,
Paris [1900-01];
de l'artbyzantin,
Vienna [1878]; D.V.AINALOV: Origines
hellenistiques
c. BAYET: L'Artbyzantin,Paris [1889]; N.P. KONDAKOV:Histoirede l'art byzantin,Paris
[1886].
665
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BYZANTINISM
AND MODERNISM
[1893], p.216.
"M.DENIS:'Notes sur la peinturereligieuse'[1896] in Thiories,1890-1910, 4th ed.,
Paris[1920], p.37.
I900-I4
666
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BYZANTINISM
AND MODERNISM
14. LeMysterecatholique,
by MauriceDenis. 1891. 27 by 41 cm.
(RijksmuseumKroller-Muller,Otterlo).
I900-I4
"Ibid.,p.132.
'Notebookon Carpaccio'and 'Notes on ByzantineArt', KCA, 4/1/21.
2"Kondakov
and Fry make much of the famous tenth-centuryminiatureof David
playing his harp held in the BibliothequeNational, Paris,and the introductionto
KONDAKOV, op.cit.at note 6 above,is illustratedby detailsfromthe UtrechtPsalterto
which Fryalso refers.
2'FRY, ed.cit.at note 14 above,p. 178, Fryto Helen Fry,July1900.
loc.cit. at note 23 above, p. 126.
27FRY,
2"Ibid.,
p. 128.
2'Ibid.
:"FRY,ed.cit.at note 14 above,p. 159.
24R. FRY:
667
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BYZANTINISM
AND MODERNISM
I900-I4
Fifthcentury Mosaic.
(S. MariaMaggiore,Rome).
16. Lot
t and
andhis
hissuite
sui (detail) Fifth
16.
(detail).
century.Mosaic. (S. MariaMaggiore,Rome).
668
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BYZANTINISM
AND MODERNISM
I900-I4
I-
17. TheEmperor
Justinian(detail).c.548. Mosaic. (S. Vitale,Ravenna).
had been hugelyimpressedby the 'widthof his sympathiesin art'(FRY, ed.cit.at note
14 above,p.290, FrytoJ.G.Johnson,September1907).
7'The Last Phase of Impressionism', THE BURLINGTON MAGAZINE, XII [1908],
ed. J.B.
in England:The CriticalReception,
pp.272-73; reprintedin Post-Impressionists
BULLEN, London [1988], pp.41-44.
"4R. FRY: Letter to the editor, THE BURLINGTONMAGAZINE, XII [1908], pp.374-76;
reprinted in BULLEN, op. cit. above, pp.44-48.
'KCA,1/76/2, p. 10.
""Ibid.
669
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BYZANTINISM
AND MODERNISM
1900-14
"Ibid.,p.46.
52Aswith the term 'proto-Byzantines'Fry seems to have formulatedthe term 'PostImpressionists'on the spurof the moment:see D.MACCARTHY:
'RogerFry',Memories,
London [1953], p. 181.
53ISG,Prichardto Mrs Gardner,2ndJanuary 1909.
54ISG,Prichardto Mrs Gardner,EasterDay 1909.
j5VictorGoloubew sent worksto the Munich exhibitionof Muslim art in 1910 and
his collection was eventuallyplaced in the Museum of Fine Arts in Boston. See
A. COOMARAsWAMY:
Les miniaturesorientalesde la collectionGoloubewau Museumoffinearts
deBoston,Paris [1929].
56ISG,Prichard to Mrs Gardner, 23rd May 1909. See also w. ROTHENSTEIN:Men and
670
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BYZANTINISM
AND MODERNISM
1900-14
18. Byzantine
lady,by VanessaBell. 1912. 72.5 by 51 cm. (? U.K. GovernmentArt
Collection).
j7. VUILLIAMY:
and A. FARJEON:
'Mosaics and Boris Anrep', Charleston
671
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BYZANTINISM
AND MODERNISM
1900-14
19. Bathing,
by Duncan Grant. 1911. 229 by 306.5 cm. (TateGallery,London).
""Sargent
employed Byzantineforms for the Christianphase of his Boston Public
Librarymurals,commissionedin 1891, visiting Sicily and Ravenna to study the
mosaics in 1897 and 1898 respectively;see M.C.VOLK: 'The Murals',in JohnSinger
MAGAZINEin
"For W.R. Lethaby, see SHONE,op. cit. at note 76 above, p.56. O.M. DALTON'SByzan-
672
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BYZANTINISM
AND MODERNISM
I900-I4
"Ibid.,p.8.
673
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BYZANTINISM
AND MODERNISM
I900-I4
22. Largebathers,
by PaulC6zanne. 1906. 210.5 by 250.8 cm. (PhiladelphiaMuseumof Art).
andEmpathy:
a Contribution
to thePsychology
W"w.WORRINGER:Abstraction
of Style, tr. M.
"Ibid.,p.273.
"Ibid.,p.281.
5"'TheGraftonGroup' [1914], ibid.,pp.264 and 266. He is referringhere to Grant's
AdamandEve.
BULLOCK,
'2Ibid.,p.257.
674
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BYZANTINISM
AND MODERNISM
I900-I4
24. Femaleinfienite,
byJacob Epstein. 1913. Serpentine,47.5 by 9.5 by 12.1 cm.
(TateGallery,London).
675
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