In coolly proclaiming itself to be essentially the application of technique to matter, to what further consequences did modern art discover it was committing itself? Christopher Prendergast traces the ‘frightful clockwork of the world-structure’ in the games of Mallarmé, puppets of Flaubert and Kleist, musings of Mann, and the hurdy-gurdy of Cézanne overheard by T. J. Clark.
Subscribe for just £45 and get free access to the archive
Please login on the left to read more or buy the article for £3
|If you want to create a new NLR account please register here|