Joris-Karl Huysmans

Joris-Karl Huysmans

Summary

Portrait of Joris-Karl Huysmans Joris-Karl Huysmans,  Against the Grain — Chapter I (1926)

“ Only the pale greens therefore remained, peacock green for instance, or the cinnabars and lacquer greens, but then in their case lamplight extracts the blue in them, leaving only the yellow, which for its part shows only a poor false tone and dull, broken sheen.
Nor was it any use thinking of such tints as salmon-pink, maize, rose; their effeminate note would go dead against all his ideas of self-isolation; nor again were the violets worth considering, for they shed all their brightness by candle light; only red survives undimmed at night,—but then what a red!
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Source: Wikisource

Portrait of Joris-Karl Huysmans Joris-Karl Huysmans,  Against the Grain — Chapter I (1926)

“ He had long been an expert in the right and wrong combinations and contrasts of tints. In other days, when he was still in the habit of inviting women to his house, he had fitted up a boudoir where, amid dainty carved furniture of the light-yellow camphor-wood of Japan, under a sort of tent of pink Indian satin, the flesh tints borrowed a soft, warm glow from the artfully disposed lights sifting down through the rich material. ”
Source: Wikisource

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