On a recent trip through the Provence in France, through fields of lavender, sunflowers, vineyards and olive trees, I was reminded of the importance of landscapes, and that of the Provence in particular, as inspiration for many artists, including Frédéric

In last month’s article I discussed the Symbolist influence on music and art in France at the turn of the 20th century. It is of interest to note that this influence also played a role in the works of the

In 1902, after the successful debut of his opera Pelléas and Mélisande, Claude Debussy published many articles as a music critic under the pseudonym Monsieur Croche (similar to Paul Valéry’s pseudonym ‘Monsieur Teste’) in the ‘Revue Blanche’ and other publications.

All art, according to Walter Pater’s famous words “constantly aspires towards the condition of music.” Since architecture and music are based on rhythm, proportion and harmony, they do share a clear cultural lineage. The search for the visual equivalent of

Eric Satie Parade (1917) Gymnopédies (1893) In their respective fields, Paul Cézanne and Claude Debussy influenced the artists of the early 20th century, which found their counterparts in intellectual circles formed around writers and poets such as Stéphane Mallarmé, Guillaume

In the middle of the 18th century the last shadows of the Baroque faded into the more intimate, colorful and pastoral Rococo period. All of the art forms, particularly those in painting and music, emphasize the “artificial” disguised as the

Over the course of centuries, the relationship between music, the arts and literature has always focused on their similarities and differences. The difference between painting, which one sees and music, which one hears, has always been considered obvious. However, as