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| List of Illustrations | |
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| Preface to the Revised Edition | |
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| Acknowledgments | |
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| Introduction | |
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| The Artist and His Myth | |
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| The Quest for Origins and Their Effacement | |
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| Indecision and Artistic Vocation | |
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| Art versus Determinism | |
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| The Painter as Poet-Philosopher | |
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| The Review of the 1868 Salon | |
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| The Later Writings | |
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| The Ethical Basis of Drawing | |
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| Recourse to Literary Sources | |
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| Entering the Artistic Field | |
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| A Late Start, Individualism, and Marginal Status | |
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| Lithography as an Expedient | |
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| Astray on the Boulevard? The Exhibitions of 1881 and 1882 | |
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| The Writers' Role | |
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| Introductions | |
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| Redon and the Decadents: Homologies and Affinities | |
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| Criticism and Its Interests | |
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| J.-K. Huysmans, Priority, and Primacy | |
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| Writers as Artists' Agents | |
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| Criticism as Transubstantiation | |
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| Portraits of the Bourgeois as an Artist | |
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| The Edgar Allan Poe of the Graphic Arts | |
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| A Literary Public-a Literary Art? | |
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| The Question of Illustration | |
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| Translating Poe | |
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| Literary References, Titles, Captions, and Albums | |
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| "On the Frontiers of All the Arts" | |
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| J.-K. Huysmans and Poetic Criticism | |
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| An Album and Its Transposition | |
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| J.-K. Huysmans, "The New Album by Odilon Redon" | |
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| The Homage to Goya Campaign and the Crystallization of Symbolism | |
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| The Technique and Principles of Transposition | |
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| Face of Mystery: Iconology and Communication | |
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| Pre-iconographical Analysis | |
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| From D�rer to Pascal: Sources, Comparisons, and the Semantic Field | |
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| Face of Mystery as Self-Portrait: An Image of the Artist and of Art | |
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| Face of Mystery as a Mirror | |
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| Ambiguity, Exegesis, and a Community of Equals | |
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| The Expanse and the Limits of the Restricted Field | |
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| Internationalism and Marginality | |
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| Proselytism and Exclusiveness | |
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| The Limitations of Literary Friendships | |
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| Estrangement from Huysmans and the Move to the Right Bank | |
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| Redon's Change of Direction | |
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| The Turning Point Explained | |
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| The End of Artistic Isolation | |
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| Illustration as Interpretation | |
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| La tentation: Avatars of Literary Associations | |
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| The "Renaissance of Lithography" | |
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| "Consecration" and Ambiguities of Symbolism | |
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| The Primacy of Admirers and the Limits of Recognition | |
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| Redon in the Arena of Criticism | |
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| Avowals, Denials, and Polemics | |
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| The Brush Takes Up the Pen: The Late Writings | |
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| New Views of Art, Literature, and Criticism | |
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| Friends and Foes: The Pen and the Brush | |
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| A Posthumous Triumph | |
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| Family Quarrels | |
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| A Fin-de-Si�cle Crisis in Artist-Writer Relations | |
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| The Rise of Formalism and the Complicity of Adversaries | |
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| Conclusion | |
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| Notes | |
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| Index | |