The Symbolist Conception of Illustration and Tyra Kleen’s Nevermore

Tyra Kleen (1874–1951), a fin de siècle Swedish artist, illustrated Poe’s “The Raven.” The image, titled Nevermore, includes series of handwritten excerpts from the poem, her signature, and some withered red roses that cross main image frame. (The included here is in Kleen’s private artist archive at Valinge gård, visited November 30, 2017.) burning candle framed as well depicted person’s visible arms hands are details have been colored. This lithograph itself undated, but according to art historian Karin Ström-Lehander, first prints Nevermore were made April May 1904 (“Tyra fotspår: En studie över konstnärens tid i Rom och Paris, 1892–1908,” master’s thesis, Uppsalas Universitet, 2018, 55). It quite likely other versions exist this graphic artwork, not only when it comes quoted Raven” even what has colored.The lines poem cited do not, fact, represent complete verses, instead selected fourteenth, fifteenth, sixteenth verses. (Thereby, fourteenth verse noted down by slightly changed order. In addition that, “thy memories” was replaced “my without changing content.): [“]Quaff, oh, quaff kind nepenthe forget lost Lenore!”Quoth Raven, “Nevermore.” . .[“]Is there—is there balm Gilead?—tell me—tell me, I implore!Quoth .[“]Tell soul with sorrow laden if, within distant Aidenn,It shall clasp sainted maiden whom angels name Lenore—Clasp rare radiant Lenore.”Quoth These reflect questions concerns uttered mourning narrator word raven recurrently cries (“Nevermore”). When asks if he may be reunited his beloved Lenore heaven feeling will eventually disappear, replies “Nevermore.”Although added an expression male narrator’s encounter raven, does sort interaction. displayed any way. By capturing night scene sorrowful man cowering front tomb deceased woman, trying make contact her, imagery deals loss can, doubt, related suffering Lenore. However, expresses something had preceded actual plot or takes place mind narrator; depict neither approaching bereaved nor their interactions. Furthermore, becomes more unimportant considering interaction between image. man’s deceased’s crossing corporeal they establish highlighted different ways. As body part revealed, left arm—which appears seemingly alive—extends downwards into direction head. right hand is, on contrary, reaching for covered and, thereby, arm. repeated through shadow cast tomb. reiterated tomb, which embellished Chi Rho symbol Jesus Christ. Even fact colored enhances importance gesture.This analogy can perhaps understood counterbalance raven’s “Nevermore” regarding reunion expressed stanzas Kleen. Rho, symbolizing Christian God’s protection, might allude possibility being afterlife forever gone.“The many times before approached subject. Prominent examples include Gustave Doré’s 1883 illustrations Édouard Manet’s four lithographed black-and-white drawings, title vignette ex libris, accompany Stéphane Mallarmé’s French translation 1875. comparison these well-known publications all, large degree, centered around visions appear mind. though its hero present images, published issue 1875 dependent text, least regard spatial inclusion printed issue, Elizabeth Prelinger argues. occupy full page are, hence, independent typography Therefore, regards bilingual text—both English French—as corresponding principal parallelism text pursued Mallarmé, also implied images’ suggestive rather than descriptive quality (Elizabeth Anne Prelinger, Symbolist Print: Volume II,” PhD diss., Harvard University, 1987, 115). reasonable suppose, then, cannot considered visual counterpart narrative poem. notion already supported use just one single insufficient whole complex work Doré, example. highlighting topic grief, sorrow, longing one’s beloved, emphasizes isolates state opposed describing action Accordingly, it.While particularly textual features artwork refers encountering gone “nevermore” achieved again life bereaved, challenged itself. Establishing two individual’s crossed linking gesture symbol, reveal optimistic attitude mourner’s beloved. makes interplay alteration poem.Kleen’s combination particular sections constitutes both deconstruction original source construction new poetic constellation. reworking still reminiscent Raven,” liberated it, telling story. seen account features’ general.The quotes chooses thought inspirational theme displayed; while image’s reflects narrative, same time expands beyond it. adds maybe layer poem’s conveying challenging pessimistic “Nevermore.”This latitude selecting arranging literary references possible suggestion altering supports idea making reference. Hence, advocates invention entity help sum coexisting media forms.In creation means assembling combining forms, very similar used reappears Ord Bild 1901 (see http://runeberg.org/ordochbild/1901/0712.html). Founded 1892, (Word image) cultural journal works illustrations, vignettes, typographical turn twentieth century. Presented purely illustrative supporting refer Instead, functions three drawings Norwegian Mons Lie’s short story “Dødens varsel” (Death’s warning).This different, insofar laterally reversed version background foreground. motif remains same, depicting sorrowfully next female’s grave resting incorporated. story, figure about lose mother general vicious redemption, grief. Bild, depicts figures relation each other, matter insinuated Since she produced 1904, reused one. principle multiplied pictorial highlights arbitrariness, contingency, free multitude heterogeneous verbal expressions. characteristic synthetic artworks.The detail important consider. once placed outside inside functioning feature, overlapping They belong grieving create meaning own. love relationship distinguishing earlier version. relevant assumption artwork’s character content. depth merge artwork. A effect merging handwritten, result ornamental effect. those aspects highly qualities destabilize iconic hierarchies hors-texte decoration embodied concept double lecture parallel (Juliet Simpson, “Symbolist Illustration Visual Metaphor: Remy Gourmont Alfred Jarry’s ‘L’Ymagier,’” Word Image 21, no. 2, 2005, 153). blurring visual, accord notion.In example artworks Kleen, such Sed Non Satiati (1902) La Peur (1901), modifications, selections, deconstructions reuse textual, pictorial, elements constitute sense illustration. overall generated several examined could redefined intermedial At time, accordance Simpson defines primary characteristics namely function “as form hybrid synthesis, … categories ‘literary’ pictorial’ collapsed set opposition, juxtaposed dynamic dialectical another” (Simpson, Metaphor,” 151). coexistence mutually productive tension liberates illustration subservient role creates new, interactive text. Such “illustrations” rest traditional hierarchy conform central aesthetic status attained circles. conveyed vis-ual shown, word-image combinations necessarily need produce congruent reciprocal relationships, points out; unstable logical entities, multiple forms (168).The arrangement generally done way clear distinction dissociated. like rose exceed frame features, letters, Christogram effect, destabilizing hierarchies. Taking all account, assume influenced synthesis arts, prevalent circles, conception untraditional innovative text-image relationships.Furthermore, conforming notions type intermediality, artworks, definition graphicality. open-ended vague definition, graphicality suggest medium transgressions, combinations, fusions, no occurs mental/cognitive level, material/formal thematical association allusion operating. Simply put, exploration inter-arts apparent correlates graphicality.Nevertheless, difficult assess read Edgar Allan Poe familiar total remained inaccessible since beginning 2017, why examination given whether documented anything not. Based diaries years 1895 1903, accessible, reference Poe.Besides longer sojourn Rome 1898 1906, residences Paris must artistic practice establishing herself internationally One Parisian stays took October 1897, during studied Académie Julian come theories (Niklas Franzén, “Tyra som symbolist,” ed. Kerstin Gullstrand Hermelin et al., Björkvik: Linderoths tryckeri, 2016, 62).The school where Neoplatonic ideas aesthetics developed late 1880s. Moreover, Maurice Denis—who Définition du néo-traditionnisme (1890) proposes battle supremacy text—and movement Les Nabis associated (Richard Belinda Thomson, “Maurice Denis’s ‘Définition Néo-traditionnisme’ Anti-naturalism [1890],” Burlington Magazine, 2012, 264). Some most contributions were, words, Julian.Hence, scene, modern intermediality relationships.