Forskjell mellom versjoner av «Klinger, M. “Drawing and Painting”»
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To further ground these claims, Klinger argues that every material has its own “spirit” which is inherently attached to certain means of representation. Relating this observation to painting, he describes how certain motifs are more adequate to be depicted through drawing, as the use of color will inevitably lead the viewer to focus more on the colors and forms.<ref name=":1" /> | To further ground these claims, Klinger argues that every material has its own “spirit” which is inherently attached to certain means of representation. Relating this observation to painting, he describes how certain motifs are more adequate to be depicted through drawing, as the use of color will inevitably lead the viewer to focus more on the colors and forms.<ref name=":1" /> | ||
| − | == The nature of Drawing and Painting == | + | === The nature of Drawing and Painting === |
Klinger defines the nature of painting as follows: "Its task is to express the colored material world in as harmonious fashion, and even the expression of passion and violent emotion must be subordinated to this harmonious effect.”<ref name=":1" /> Even depictions of distress or tragedy will always be glorified through beauty and harmony. | Klinger defines the nature of painting as follows: "Its task is to express the colored material world in as harmonious fashion, and even the expression of passion and violent emotion must be subordinated to this harmonious effect.”<ref name=":1" /> Even depictions of distress or tragedy will always be glorified through beauty and harmony. | ||
| Linje 21: | Linje 21: | ||
== Edvard Munchs "Scream" in Lithography == | == Edvard Munchs "Scream" in Lithography == | ||
| − | Den Store Norske Leksikon names the Norwegian artist Edvard Munch as one of the artists influenced by Max Klinger and his early explorations of the human psyche that preceded the Surrealists.<ref name=":0" /> Klinger's essay "Drawing and Painting" can be used to analyze the lithographic print version of "Scream" made by Munch in 1895. Already in the motif of "Scream", Munch breaks from the tradition of Painting theorized by Lessing in his "''Laoköon"'' essay, a writer which Klinger also criticizes in his text. Based on Greek ideals of Beauty, Lessing claimed that the art of Painting could not depict the "Ugly", such as a figure screaming. Munch radically impacts the aesthetics of Realism with "Scream" by choosing not to idealize beauty. | + | Den Store Norske Leksikon names the Norwegian artist Edvard Munch as one of the artists influenced by Max Klinger and his early explorations of the human psyche that preceded the Surrealists.<ref name=":0" /> Klinger's essay "Drawing and Painting" can be used to analyze the lithographic print version of "Scream" made by Munch in 1895. Already in the motif of "Scream", Munch breaks from the tradition of Painting theorized by Lessing in his "''Laoköon"'' essay<ref name=":2">Bjerke, Ø. S. (2007). The scream as image of a «scream». ''Kunst Og Kultur'', ''90''(3), 175–186. <nowiki>https://doi.org/10.18261/issn1504-3029-2007-03-04</nowiki></ref>, a writer which Klinger also criticizes in his text. Based on Greek ideals of Beauty, Lessing claimed that the art of Painting could not depict the "Ugly", such as a figure screaming. Munch radically impacts the aesthetics of Realism with "Scream" by choosing not to idealize beauty.<ref name=":2" /> |
Although in the present day the most famous iteration of "The Scream" is the one with color, at the time Munch debuted the painting it was the black and white version that was most popular and reproduced around Europe. It is perhaps by comparing the two versions that one can further understand the claims made by Klinger in his theories of the nature of Painting and Drawing. The monochrome version of "The Scream" is able to express an emotion that Munch himself experienced, depicting an inner sensation that represents the subjectivity of the artist. According to Klinger, it is through drawing and other monochrome art forms that the artist is best suited to express "the darker side of life", meaning all the thoughts, emotions and figments of the imagination that are not limited by the rules of form and color that Painting prescribes to. | Although in the present day the most famous iteration of "The Scream" is the one with color, at the time Munch debuted the painting it was the black and white version that was most popular and reproduced around Europe. It is perhaps by comparing the two versions that one can further understand the claims made by Klinger in his theories of the nature of Painting and Drawing. The monochrome version of "The Scream" is able to express an emotion that Munch himself experienced, depicting an inner sensation that represents the subjectivity of the artist. According to Klinger, it is through drawing and other monochrome art forms that the artist is best suited to express "the darker side of life", meaning all the thoughts, emotions and figments of the imagination that are not limited by the rules of form and color that Painting prescribes to. | ||
| − | Although Munch did not abide by this tradition even in his colored versions of "The Scream", Klingers theories can be applied to recognize the limitations or restrictions that color places on the same motif. By using tones of orange and red, in the colored versions Munch places his figure in a physical time and space in the "representable world", and the audience is led to appreciate the harmony in the choice of color even in the face of the horrid distorted person in the forefront. In contrast, the lithographic version is stripped from any such associations, and the idea behind the image can perhaps make a more direct emotional impact with the audience. As Klinger would describe it, the monochrome version allows for a "synthesis of poetic perception" in which Munch has depicted something he perceived with his "inner eye", and his portrayal of nature and the human form can form poetic associations in the mind of the viewer. | + | Although Munch did not abide by this tradition even in his colored versions of "The Scream", Klingers theories can be applied to recognize the limitations or restrictions that color places on the same motif. By using tones of orange and red, in the colored versions Munch places his figure in a physical time and space in the "representable world", and the audience is led to appreciate the harmony in the choice of color even in the face of the horrid distorted person in the forefront. In contrast, the lithographic version is stripped from any such associations, and the idea behind the image can perhaps make a more direct emotional impact with the audience. As Klinger would describe it, the monochrome version allows for a "synthesis of poetic perception"<ref name=":1" /> in which Munch has depicted something he perceived with his "inner eye", and his portrayal of nature and the human form can form poetic associations in the mind of the viewer. |
| − | + | == Literature == | |
| + | Bjerke, Ø. S. (2007). The scream as image of a «scream». ''Kunst Og Kultur'', ''90''(3), 175–186. https://doi.org/10.18261/issn1504-3029-2007-03-04 | ||
| + | |||
| + | Gaiger, Jason, Charles Harrison, and Paul Wood. Art in Theory : 1815-1900 : An Anthology of Changing Ideas. Oxford: Blackwell, 1998. | ||
| + | |||
| + | Fagernes, Trond: ''Max Klinger'' i ''Store norske leksikon'' på snl.no. Hentet 8. mars 2022 fra https://snl.no/Max_Klinger | ||
| + | |||
| + | === References === | ||
[[Kategori:1870-1900]] | [[Kategori:1870-1900]] | ||
[[Kategori:Vår 2022 kun2061 4061]] | [[Kategori:Vår 2022 kun2061 4061]] | ||
| + | <references /> | ||
Nåværende revisjon fra 9. mar. 2022 kl. 14:12
Innhold
Introduction
Max Klinger (1857-1920) was a Leipzig-born German painter, sculptor and engraver. Through his depictions of dreamlike fantasy scenarios, he was linked to the movement of Symbolism and Realism with his sculptures, paintings and in his mastery of graphic drawings. He is also recognized as a forefather in Surrealism, influencing the likes of Kathe Kollwitz, Edvard Munch, Max Beckmann, Max Ernst and Giorgio de Chirico.[1]
In his only theoretical work, Drawing and Painting, privately published in 1891, he describes the unique function and aesthetics of monochrome arts which stand in “emphatic contradiction” to the demands of painting, which is dependent on color. He claims that the use of color inevitably forces the painter and the spectator to make associations to the real world, whilst the graphic arts are more adequate to liberate the imagination of the artist.[2]
Summary
Klinger begins his essay by criticizing the lack of a unique term to describe the monochrome graphic arts such as drawing, engraving, etching, carving and lithography. He claims that these particular arts frequently stand in opposition to the demands of the painterly aesthetic, and describes them as a “perfected art-forms” with “aesthetic interests of their own”[2]. His essay aims to clarify the particularities of drawing as an art and its relationship to other arts, with painting in particular.
According to Klinger, the monochrome graphic arts allow the artist to depict the impressions made with the “inner eye”[2] that transcend the everyday modes of perception. He uses the engravings of Albrecht Dürer (1471—1528) as an example, describing the artist’s abandonment of color not as a sign of the work being fragmentary or incomplete, but rather as a means to access a “spiritual world” which he claims could not be adequately captured through the use of colors.[2]
To further ground these claims, Klinger argues that every material has its own “spirit” which is inherently attached to certain means of representation. Relating this observation to painting, he describes how certain motifs are more adequate to be depicted through drawing, as the use of color will inevitably lead the viewer to focus more on the colors and forms.[2]
The nature of Drawing and Painting
Klinger defines the nature of painting as follows: "Its task is to express the colored material world in as harmonious fashion, and even the expression of passion and violent emotion must be subordinated to this harmonious effect.”[2] Even depictions of distress or tragedy will always be glorified through beauty and harmony.
Klinger goes on to argue that it is through the art of drawing that the artist can voice his impressions of “the darker side of life”[2] without being restricted by the necessity to recreate the harmonies in colors and corporeality in the representable world. He believes drawing allows both the artist and the audience to supply the missing elements of the representation through their own imagination, supplying color, spatial dimensions, ideas and poetic associations. Whereas painting represents each body as a “positive individual entity”[2] which exists in its own right, drawing allows for more poetic perceptions.
Klinger identifies the most outstanding characteristic feature of drawing as its ability to depict the “intense subjectivity of the artist”[2]. As opposed to painting and sculpture, which must always apply the strict parameters set by the conditions of nature, drawing allows the artist to portray his own personal observations and impressions without betraying his artistic conscience.
He concludes that certain images produced by the imagination are not capable of adequate aesthetic representation in painting, and that the artists feelings for the world are better suited to be depicted through the art of Drawing.
Edvard Munchs "Scream" in Lithography
Den Store Norske Leksikon names the Norwegian artist Edvard Munch as one of the artists influenced by Max Klinger and his early explorations of the human psyche that preceded the Surrealists.[1] Klinger's essay "Drawing and Painting" can be used to analyze the lithographic print version of "Scream" made by Munch in 1895. Already in the motif of "Scream", Munch breaks from the tradition of Painting theorized by Lessing in his "Laoköon" essay[3], a writer which Klinger also criticizes in his text. Based on Greek ideals of Beauty, Lessing claimed that the art of Painting could not depict the "Ugly", such as a figure screaming. Munch radically impacts the aesthetics of Realism with "Scream" by choosing not to idealize beauty.[3]
Although in the present day the most famous iteration of "The Scream" is the one with color, at the time Munch debuted the painting it was the black and white version that was most popular and reproduced around Europe. It is perhaps by comparing the two versions that one can further understand the claims made by Klinger in his theories of the nature of Painting and Drawing. The monochrome version of "The Scream" is able to express an emotion that Munch himself experienced, depicting an inner sensation that represents the subjectivity of the artist. According to Klinger, it is through drawing and other monochrome art forms that the artist is best suited to express "the darker side of life", meaning all the thoughts, emotions and figments of the imagination that are not limited by the rules of form and color that Painting prescribes to.
Although Munch did not abide by this tradition even in his colored versions of "The Scream", Klingers theories can be applied to recognize the limitations or restrictions that color places on the same motif. By using tones of orange and red, in the colored versions Munch places his figure in a physical time and space in the "representable world", and the audience is led to appreciate the harmony in the choice of color even in the face of the horrid distorted person in the forefront. In contrast, the lithographic version is stripped from any such associations, and the idea behind the image can perhaps make a more direct emotional impact with the audience. As Klinger would describe it, the monochrome version allows for a "synthesis of poetic perception"[2] in which Munch has depicted something he perceived with his "inner eye", and his portrayal of nature and the human form can form poetic associations in the mind of the viewer.
Literature
Bjerke, Ø. S. (2007). The scream as image of a «scream». Kunst Og Kultur, 90(3), 175–186. https://doi.org/10.18261/issn1504-3029-2007-03-04
Gaiger, Jason, Charles Harrison, and Paul Wood. Art in Theory : 1815-1900 : An Anthology of Changing Ideas. Oxford: Blackwell, 1998.
Fagernes, Trond: Max Klinger i Store norske leksikon på snl.no. Hentet 8. mars 2022 fra https://snl.no/Max_Klinger
References
- ↑ 1,0 1,1 Fagernes, Trond: Max Klinger i Store norske leksikon på snl.no. Hentet 8. mars 2022 fra https://snl.no/Max_Klinger
- ↑ 2,0 2,1 2,2 2,3 2,4 2,5 2,6 2,7 2,8 2,9 Gaiger, Jason, Charles Harrison, and Paul Wood. Art in Theory : 1815-1900 : An Anthology of Changing Ideas. Oxford: Blackwell, 1998. 1050
- ↑ 3,0 3,1 Bjerke, Ø. S. (2007). The scream as image of a «scream». Kunst Og Kultur, 90(3), 175–186. https://doi.org/10.18261/issn1504-3029-2007-03-04
