Shock the Bourgeois: French Influences and Bohemianism in The Yellow Book
Hannah Polinski
Ryerson University
2470
Conclusion
If it were not for the daring ideas in bohemian circles, The Yellow Book would not have achieved its provocative style. By publishing famous bohemian figures like Harland and Conder The Yellow Book absorbed French influence in recreating a bohemian print community. The non-conventional ideas in the periodical echo those present in “The Bohemian Girl” and “Souvenir de Paris”, as both author and artist contribute their bohemian ideas to a periodical-wide discussion of modernity and non-conventionality. Consequentially The Yellow Book functions as a print community of bohemianism, as its editors allowed eccentric artists and writers to display their works on a grand scale when non-traditional publications with bourgeois values would not accept them. Thus, from yellow cover to yellow cover, The Yellow Book was a publication that existed outside of the mainstream, which is what has made its legacy last until today.
If it were not for the daring ideas in bohemian circles, The Yellow Book would not have achieved its provocative style. By publishing famous bohemian figures like Harland and Conder The Yellow Book absorbed French influence in recreating a bohemian print community. The non-conventional ideas in the periodical echo those present in “The Bohemian Girl” and “Souvenir de Paris”, as both author and artist contribute their bohemian ideas to a periodical-wide discussion of modernity and non-conventionality. Consequentially The Yellow Book functions as a print community of bohemianism, as its editors allowed eccentric artists and writers to display their works on a grand scale when non-traditional publications with bourgeois values would not accept them. Thus, from yellow cover to yellow cover, The Yellow Book was a publication that existed outside of the mainstream, which is what has made its legacy last until today.
Panorama of the Seven Bridges
Library of Congress
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Copyright: Images in this online exhibit are either in the public domain or being used under fair dealing for the purpose of research and are provided solely for the purposes of research, private study, or education.
Works Cited
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Eiffel Tower. 1889. Prints & Photographs Online Catalog, Library of Congress. Wikimedia Commons. Web. 18 Nov 2015.
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Beckson, Karl. Henry Harland. London: The Eighteen Nineties Society, 1978. Print.
Bird’s Eye View of Paris, France. 1890. A Photographic Trip Around the World. Chicago: John W. Illiff & Co, 1892. Wikimedia Commons. Web. 15 November 2015.
Birnbaum, Martin. Catalogue of an Exhibition of Original Works by Charles Conder. New York: Berlin Photographic Co., 1913. Print.
Conder, Charles. Sketch for a Silk Design. 1890. Aberdeen Art Gallery and Museums Scotland. Wikimedia Commons.Web. 15 November 2015.
Conder, Charles. "Souvenir de Paris." The Yellow Book 6 (July 1895): 255. The Yellow Nineties Online. Ed. Dennis Denisoff and Lorraine Janzen Kooistra. Ryerson University, 2011. Web. 16 October 2015.
Desmarais, Jane Haville. The Beardsley Industry. Brookfield:Ashgate Publishing Limited, 1998. Print.
Eiffel Tower. 1889. Prints & Photographs Online Catalog, Library of Congress. Wikimedia Commons. Web. 18 Nov 2015.
Evans, Frederick. Charles Conder. 1912. Photograph. Photograph of Charles Conder. Frontispiece for Charles Conder: His Life and Work, by Frank Gibson. The Yellow Nineties Online. Ed. Dennis Denisoff and Lorraine Janzen Kooistra. Ryerson University. Web. 15 November 2015.
Galbally, Ann. "Charles Conder 1868-1909."Craft Arts International 59 (2003): 81-83. Academic Search Premier. Web. 27 Oct. 2015.
Gluck, Mary. Popular Bohemia: Modernism and Urban Culture in Nineteenth-Century Paris. Cambridge, Massachusetts: Harvard University Press, 2005. Print.
Hamilton, Sarah Elizabeth. "From Publicity to Intimacy: The Poster in Fin-De- Siecle Paris." Order No. 1459456 Texas Christian University, 2008. Ann Arbor: ProQuest. Web. 27 Oct. 2015.
Harland, Henry. “The Bohemian Girl.” The Yellow Book 4, 1895. 12-44. The Yellow Nineties Online. Web. 15 October 2015.
Henry Harland. 1903. L.C Page and Company, Boston. Wikimedia Commons. Web. 15 November 2015.
Hoff, Ursula. “Conder, Charles.” The Dictionary of Art. Ed. Jane Turner. New York: Grove’s Dictionaries Inc, 1996. Print.
Hughes, Linda K.. “Women Poets and Contested Spaces in "the Yellow Book"”. Studies in English Literature, 1500-1900 44.4 (2004): 849–872. Web. 15 October 2015.
Merwart, Paul. La Cavalcade de la Mi-Carême. 1894. L'Illustration, Paris. Wikimedia Commons. Web. 15 November 2015.
Mix, Katherine Lyon. A Study in Yellow: The Yellow Book and its Contributors. Greenwood: University of Kansas Press, 1969. Print.
Moulin Rouge in 1900. 1900. Paris Capitale, Paris. Wikimedia Commons. Web. 15 November 2015.
Panorama of the Seven Bridges. 1890. Library of Congress, Washington.Wikimedia Commons.Web. 15 November 2015.
Pezzini, Barbara. “New Documents Regarding the Carfax Gallery: ‘Fans and Other Paintings on Silk by Charles Conder’ 1902.” British Art Journal 13.2 (2012): 849-872. Web. 15 October 2015.
Pissarro, Camille. Boulevard Montmartre, Matinée de Printemps. 1897. Israel Museum, Israel. Wikimedia Commons. Web. 15 November 2015.
Renoir, Pierre-Auguste. Bal du moulin de la Galette. 1876. Musée d’Orsay, Paris. Wikimedia Commons. Web. 15 November 2015.
Soirée au cabaret le Chat Noir. n.d. Wikimedia Commons. Web. 15 November 2015.
Weintraub, Stanley. “THE YELLOW BOOK: A REAPPRAISAL”. The Journal of General Education 16.2 (1964): 136–152. Web. 15 October 2015
The Yellow Book 4. (Jan. 1895).The Yellow Nineties Online. Ed. Dennis Denisoff and Lorraine Janzen Kooistra. Ryerson University, 2011. Web. 14 November 2015.
The Yellow Book 6. (July 1895).The Yellow Nineties Online. Ed Dennis Denisoff and Lorraine Janzen Kooistra. Ryerson University, 2011. Web. 14 November 2015.
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