Maxův cyklus Obrazových fantazií k hudebním skladbám

Variant title
Gabriel von Max cycle Phantasie-Bilder zu Tonstücken
Author: Filip, Aleš
Source document: Musicologica Brunensia. 2014, vol. 48, iss. 2, pp. [39]-58
Extent
[39]-58
  • ISSN
    1212-0391 (print)
    2336-436X (online)
Type: Article
Language
Czech
License: Not specified license
Abstract(s)
The Munich, Czech born painter Gabriel von Max (1840–1915) created the cycle Phantasie-Bilder zu Tonstücken in the years 1861–1862, i.e. at the time, when he finished his study at the Academy of Fine Arts in Vienna. Within the cycle, he connected his drawings with five piano sonatas by Ludwig van Beethoven, Lieder ohne Worte and oratory Christ by Felix Mendelssohn-Bartholdy, piano compositions by Franz Liszt, Robert Schumann etc. Max appreciated an emotive impact of instrumental music and aimed to achieve a similar effect through his drawings. Matching his drawings to concrete musical compositions was motivated for the most part subjectively, for the orientation of public, he appended a minute explanation to the first edition of his cycle (with photographic reproductions) in the year 1862. At this paper, the Max' cycle is analysed with the use of hitherto unexploited sources from the artist' estate at Deutsches Kunstarchiv (Germanisches Nationalmuseum in Nürnberg), but also through the summarisation of published interpretations and a detailed probing of drawings. Gabriel von Max continued a romantic tradition of an approach of painting and music and at the same time he begun to outline his presymbolistic concept of visual arts through this early work by him. The theme of the reception of music in the 19th century is devoted a special attention at this paper.
Document
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