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Bibliografias temáticas / Beethoven frieze (Klimt, Gustav)

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Literatura científica selecionada sobre o tema "Beethoven frieze (Klimt, Gustav)"

Autor: Grafiati

Publicado: 25 de julho de 2024

Última modificação: 31 de julho de 2024

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Artigos de revistas sobre o assunto "Beethoven frieze (Klimt, Gustav)"

1

Karnes, Kevin C. "Wagner, Klimt, and the Metaphysics of Creativity in fin-de-siècle Vienna". Journal of the American Musicological Society 62, n.º 3 (2009): 647–97. http://dx.doi.org/10.1525/jams.2009.62.3.647.

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This article takes a close look at a pair of well-known works by Gustav Klimt, the Nuda Veritas (1898) and the Beethoven Frieze (1902), and argues that the Schopenhauerian worldview evident in them testifies to the underappreciated influence of Richard Wagner on the Viennese artistic scene circa 1900. I begin by isolating previously unnoticed strains of Schopenhauerian iconography evident in the Nuda Veritas pertaining to the source and value of artistic creativity. I proceed by demonstrating that Klimt's peculiar use of that iconography conflicts with Schopenhauer's own theories of art, although it hews closely to Wagner's idiosyncratic interpretation of Schopenhauer's ideas outlined in his Beethoven essay and enacted in Die Meistersinger von Nürnberg. After surveying evidence of Klimt's familiarity with Wagner's works, I turn to Die Meister singer, highlighting the unacknowledged ways in which that opera dramatically enacts Wagner's theories of creativity. I conclude by suggesting that some of those same theories underlie the imagery of Klimt's Beethoven Frieze, and by suggesting more broadly that the Beethoven Frieze and the Nuda Veritas testify to the vital role played by Wagner's music dramas in mediating and popularizing a quasi-Schopenhauerian worldview in the creative culture of the turn of the century.

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Sang, Jeong-a. "Storytelling through Juxtaposition, Mixture, and Reversal of Traditional Icons - Focusing on Beethoven Frieze by Gustav Klimt and The Eve of St. Agnes by John Keats". Humanities Contens 40 (31 de março de 2016): 61. http://dx.doi.org/10.18658/humancon.2016.03.40.61.

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3

Dyki, Judy. "KLIMT: BEETHOVEN: THE FRIEZE FOR THE NINTH SYMPHONY. Jean-Paul Bouillon". Art Documentation: Journal of the Art Libraries Society of North America 6, n.º 4 (dezembro de 1987): 190. http://dx.doi.org/10.1086/adx.6.4.27947856.

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4

Brandow-Faller, Megan. "Man, Woman, Artist? Rethinking the Muse in Vienna 1900". Austrian History Yearbook 39 (abril de 2008): 92–120. http://dx.doi.org/10.1017/s0667237808000060.

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Veni, CreatorSpiritus! From the triumphant chorus of Gustav Mahler's Eighth Symphony to the muse-choir adorning Gustav Klimt's Beethoven Frieze, the Vienna Moderns celebrated the inspirational powers of the feminine. Muses, or the spiritual forces guiding acts of artistic and literary creation, have long been associated with the creative output of the Vienna Moderns, the groups and individuals responsible for the development of modernism in the arts and literature in Vienna from 1890 to 1910. These inspiring women—commonly personified as femmes fatales, femmes fragiles, and femmes savantes—played a crucial role in bringing the art, architecture, and writing of Viennese Modernism to fruition.

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5

Hidalgo, Ana Laura. "Lecturas hermenéuticas de la mujer en arte/comunicación/cultura. El caso del Friso de Beethoven de Gustav Klimt". ESCENA. Revista de las artes 77, n.º 1 (31 de julho de 2017): 31. http://dx.doi.org/10.15517/es.v77i1.30031.

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Este trabajo se propone realizar una mirada acerca del Friso de Beethoven (1902) desde la hermenéutica filosófica, a fin de vincular las nociones de arte, comunicación y cultura desde un horizonte de sentido posible que aborde la mujer. Las primeras preguntas se orientan hacia la noción de Gesamtkunstwerk de la puesta klimtiana de la XIV Exposición de la Secesión Vienesa desde relecturas de la Escuela de Frankfurt. Posteriormente, el trabajo explora las exposiciones secesionistas y la muestra del año 1902. A continuación, se detiene en las mujeres creadas en el Friso de Beethoven, a fin de favorecer diálogos entre la industria cultural, la cultura de masas y lo femenino. A fin de recrear los impulsos estéticos que movilizaron el grupo secesionista en el corpus de estudio, el presente artículo se organiza siguiendo los momentos de una ópera: Obertura, Actos y Escenas.

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6

Cherkasov, Danila Sergeevich. "Synthesis of religious and mythological motifs in the visual arts of the Vienna Secession. Decadence as a blurring of intra-cultural boundaries". Культура и искусство, n.º 4 (abril de 2024): 127–38. http://dx.doi.org/10.7256/2454-0625.2024.4.69933.

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The subject of the study is one of the features of the iconography of the artists of the Viennese Secession, namely the mixing in one work of elements belonging to different cultural traditions, and the use of the Nietzschean concept of decadence (primarily presented by the philosopher in his work "Casus Wagner") to understand the reasons for such a misplacement of boundaries. The author pays special attention to the combination of elements of Christian cult and ancient Greek and Roman mythology in one work (as in the cases of the "Beethoven Frieze" by G. Klimt or such works by M. Klinger as the sculpture of Beethoven for the 1902 Secession exhibition and the monumental canvas "Christ on Olympus"). Another aspect of the above-mentioned cultural mixing was the blurring of the boundary between the fantastic and the real, which is especially evident in such a work as "Self-Portrait with a Mermaid" by K. Moser. The main method of this work is the iconographic analysis of works of art in the collections of museums in Vienna. The conclusion of the article is that the artists of the Vienna Secession, who worked in the last years of the existence of the Austro-Hungarian Empire, which was disintegrating due to many factors, despite their desire to create a new artistic language capable of uniting the peoples of the collapsing country, reflected the destruction of the social order surrounding them in their works. Decadence, which F. Nietzsche associates with the disintegration of a single whole and the loss of hierarchical relationships in favor of individual individuals, released the creative energy of an entire generation of Austrian artists who created their works, ignoring the boundaries that existed before between secular and religious and, as a result, between Christian and pagan, real and imaginary. The novelty of this study lies in the use of special optics, the core of which is the phenomenon of decadence. Through this prism, it is possible to consider the legacy of the Vienna Secession not as a regional vesrion of European art nouveau or the forerunner of twentieth-century modernism, but as part of a different stream of cultural phenomena permeating the culture of Europe of the XIX-XX centuries, not bound by strict stylistic (art nouveau) or iconographic (symbolism) restrictions.

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7

Flythe, Benjamin R. "Dreams and Sexuality: A Psychoanalytical Reading of Klimt's Beethoven Frieze". Elements 12, n.º 2 (13 de novembro de 2016). http://dx.doi.org/10.6017/eurj.v12i2.9377.

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This essay presents a philosophical and psychoanalytical interpretation of the work of the Viennese Secession artist, Gustav Klimt. The manner of depiction in Klimt’s paintings underwent a radical shift around the turn of the twentieth century, and the author attempts to unveil the internal and external motivations that may have prompted and contributed to this transformation. Drawing from Friedrich Nietzsche’s The Birth of Tragedy as well as Sigmund Freud’s The Interpretation of Dreams, the article links Klimt’s early work with what may be referred to as the Apollonian or consciousness, and his later work with the Dionysian or the subconscious. It is then argued that the Beethoven Frieze of 1902 could be understood as a “self-portrait” of the artist and used to examine the shift in stylistic representation in Klimt’s oeuvre.

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8

Murr, Beate. "“I knew right from the start that the whole thing would be damned expensive” – Gustav Klimt’s Cartoons for the Stoclet Frieze: Their Creation, Execution, and Conservation, Part II". Restaurator. International Journal for the Preservation of Library and Archival Material 35, n.º 1 (1 de janeiro de 2014). http://dx.doi.org/10.1515/res-2014-0003.

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AbstractIn 1905, Gustav Klimt, one of the best-known Austrian Art Nouveau artists was commissioned to decorate the walls of the dining room of the Stoclet House in Brussels, which was being designed by Josef Hoffmann. Nine full-scale cartoons on paper - designed in 1910 / 1911 - are the result of Klimt’s years of work on this project. He provided instructions for their transposition as a mosaic directly onto the paper. For the production of the frieze at the Wiener Werkstatte and at Leopold Forstner’s Wiener Mosaikwerkstatte, Klimt gave numerous instructions regarding the materials to be used and the shades of color in the mosaic. He wrote these by hand directly onto the cartoons. The cartoons for the Stoclet Frieze, 1:1 in scale, have been the subject of extensive scholarly research and have been restored in the 1970ies. During the last eight years the cartoons were subjected to another invasive treatment. This second part deals with the “de-restoration” of earlier interventions, the consolidation of media and paper carrier and the mounting on acid free honeycomb cardboard panels so that the individual cartoons can be displayed side by side without interruption of frames to form a frieze. Now they are exhibited in an eleven-meter long, climate-stabilized glass display case.

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Teses / dissertações sobre o assunto "Beethoven frieze (Klimt, Gustav)"

1

Globig, Aleksandra. "A New Method of Surface Ornamentation: Ludwig Hevesi's Malmosaik in Gustav Klimt's Faculty Paintings, Beethoven Frieze and Stoclet Frieze". Thesis, University of Oregon, 2013. http://hdl.handle.net/1794/13317.

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The Austrian art critic Ludwig Hevesi wrote the article "Gustav Klimt und die Malmosaik" in August of 1907 after seeing two separate exhibitions with paintings by the Austrian artist Gustav Klimt. The first exhibition had three easel paintings and the second, three decorative ceiling paintings. Despite the obvious differences between the two types of paintings, Hevesi noted a stylistic continuity between them. He created the term, Malmosaik, applicable to both easel and decorative painting, in order to discuss this continuity in his written criticisms. This thesis examines the applicability of the Malmosaik in Klimt's Faculty Paintings, Beethoven Frieze and Stoclet Frieze, and its impact on traditional notions of medium purity in turn-of-the-century Vienna. The Malmosaik, as it developed in Klimt's work, is discussed here as an innovative, non-medium specific aesthetic unique to Vienna.

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Livros sobre o assunto "Beethoven frieze (Klimt, Gustav)"

1

1862-1918, Klimt Gustav, e Wiener Secession, eds. Gustav Klimt, Beethovenfries =: Gustav Klimt, Beethoven frieze. Wien: Secession, 2002.

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2

Gustav, Klimt. Gustav Klimt: The Beethoven frieze and the controversy over the freedom of art. Munich: Prestel, 2006.

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3

Secession, Wiener, ed. Ich möchte Teil einer Jugendstilbewegung sein: Der Beethovenfries. Wien: Secession, 2012.

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4

Andreas, Maleta, e Sármány-Parsons Ilona, eds. Josef Maria Auchentallers Beethoven-Musikzimmer in der Villa Scheid, Wien um 1898/99: Alle Auchentaller-Bilder stammen aus der "Victor & Martha Thonet Sammlung" : a Gallery Punkt12 Publication. Wien: AMP, Andreas Maleta Press & Publication, 2017.

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5

Annette, Vogel, e Spazio Oberdan (Milan Italy), eds. Gustav Klimt: Disegni intorno al Fregio di Beethoven. Milano: Skira, 2012.

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6

Gustav, Klimt, Fundación Juan March Staff e Stephan Koja. Gustav Klimt: The Beethoven Frieze and the Controversy over the Freedom of Art. Prestel Publishing, 2006.

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7

Gustav, Klimt, Fundación Juan March Staff e Stephan Koja. Gustav Klimt: The Beethoven Frieze and the Controversy over the Freedom of Art. Prestel Publishing, 2006.

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8

Gustav Klimt: The Beethoven Frieze and the Controversy over the Freedom of Art. Prestel Publishing, 2007.

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9

Gustav, Klimt, Fundación Juan March Staff e Stephan Koja. Gustav Klimt: The Beethoven Frieze and the Controversy over the Freedom of Art. Prestel Publishing, 2006.

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10

Study Stoclet Frieze Gustav Klimt Sketch: Study for Stoclet Frieze, Gustav Klimt Sketchbook. Antique Collectors' Club, 2023.

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Mais fontes

Capítulos de livros sobre o assunto "Beethoven frieze (Klimt, Gustav)"

1

Lillie, Sophie. "Chapter 10 The Fortunate Possessor The Case of Gustav Klimt’s Beethoven Frieze". In Rethinking Holocaust Justice, 265–88. Berghahn Books, 2022. http://dx.doi.org/10.1515/9781785336980-015.

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2

GOMES, N. M. U. "BEETHOVEN, DARWIN E FREUD: INFLUÊNCIAS DA VIENA FIM-DE-SIÈCLE NA POÉTICA DE GUSTAV KLIMT". In OLHARES PLURAIS E MULTIDISCIPLINARES NA PESQUISA E EXTENSÃO, 53–63. Arco Editores, 2022. http://dx.doi.org/10.48209/978-65-5417-027-3.

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