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Ljiljana Mokrović

Puni tekst: hrvatski pdf 836 Kb

str. 89-109

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Vidric’s connection to impressionist painters may be seen in the poems Landscape I, Landscape II, Grove, and Morning. Similarities between his poetic procedure and the work of the French impressionists, particularly that of Claude Monet, lie in both thematic and structural area. They are being exhausted in the technique of painting i.e. of composing poems, the choice of colours, the study of the subject, and the closeness between lyrical codes in poetry and in painting. Their common features also lie in the comprehension
of motifs, the air-like perspective, the easiness of moves, suggestive expression, and a specific poetic/artistic impression, resulting from the same momentaneous inspiration.
In the poem The Poster, Vidric, not unlike the painter Arnold Bocklin, turns more and more from the unanimity of form, mood, and poetry, towards the expression of philosophy as one among the constants of the European literature and visual arts symbolism
towards the end of the 19,h c. The context of the poem Adieu implies a classy late Symbolism poetry written in the best school there is for the European society’s neoaristocracy.
Apart from Verlaine, it includes also the elements from dolce stil nuovo to rococo.
From the visual arts point of view, it may be followed all the way to the metaphysical
painting of Giorgio de Chirico.

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