2025 № 1 (52)
Music in Belgian Fine Arts at the Turn of the 19th and 20th Centuries
UDC 7.036.45; 78.072.2
LBC 85.103(3)
DOI: 10.51678/2226-0072-2025-1-204-269
For cit.: Klyushina E.V. Music in Belgian Fine Arts at the Turn of the 19th and 20th Centuries. Hudozhestvennaya kul’tura [Art & Culture Studies], 2025, no. 1, pp. 204–269. https://doi.org/10.51678/2226-0072-2025-1-204-269.
Klyushina Elena V.
PhD (in Art History), Researcher, St. Petersburg State University, 7–9 Universitetskaya Emb., St. Petersburg, 199034, Russia
https://orcid.org/0000-0002-0006-5010
ResearcherID: N-1715-2015
Scopus Author ID: 57195929242
Music in Belgian Fine Arts at the Turn of the 19th and 20th Centuries
Abstract. The article is devoted to the specifics of the organization of musical life in Belgium at the turn of the 19th and 20th centuries and its reflection in the iconography of Belgian fine art. Within the framework of the set objectives, the author determines the origins of the formation and features of independent artistic communities. One of the distinctive features inherent in Belgian non-institutional art is the high involvement of its representatives in various musical practices. Particular attention is paid to the initiatives implemented in the 19th century by the Brussels Conservatory, as well as the transformation of the theatre and music environment of Brussels in the second half of the century. Having briefly covered the history of the reconstruction of La Monnaie, the author determines the significance of R. Wagner’s productions for this opera house. Particular attention is paid to the role of Belgian artists in the creation of theatrical costumes and scenery. In determining the organizational specifics of international concert activity in Brussels, great importance is attached to the figure of Octave Maus, secretary of the societies Les XX and La Libre Esthétique. Based on the analysis of the epistolary heritage, as well as concert programs, a periodization of the musical life of the vintists, as well as representatives of the La Libre Esthétique, is developed and introduced into scientific circulation. The last section of the article describes and analyzes masterpieces of painting and sculpture, which should be considered key in the musical iconography of the fine arts of Belgium at the turn of the century, for example, the works of Anna Boch, Théo van Rysselberghe, Fernand Khnopff, James Ensor, Constantin Meunier and some others.
Keywords: musical iconography, Belgian art, music in Belgium, Octave Maus, Vincent d’Indy, Eugène Ysaÿe, Fernand Khnopff, James Ensor, Les XX, La Libre Esthétique
The research was carried out with the support of the Russian Science Foundation grant for small research groups No. 23–28–01577 “Reception of Musical Practices and Its Representation in the Visual Culture of the Second Half of the 19th — First Half of the 20th Century”.
Sources:
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Lettre de Théo Van Rysselberghe à Octave Maus, s.d. (1887). Catalogue des Archives de l’Art contemporain en Belgique, numéro d’inventaire AACB 6331. Available at: http://193.190.214.119/archibaldweb/FullBB.csp?WebAction=ShowFullBB&EncodedRequest=N*DA*8E*B4*1F*CF*12*23*E3*AF6f*13*5F*E3s&Profile=Default&OpacLanguage=fre&NumberToRetrieve=50&StartValue=42&WebPageNr=1&SearchTerm1=RYSSELBERGHE!n%20.4.171&SearchT1=&Index1=Index55&SearchMethod=Find_1&ItemNr=42 (accessed 01.09.2024).
Programme [de concert], “Les XX. Première matinée”, Bruxelles, 07.02.1888. Catalogue des Archives de l’Art contemporain en Belgique, numéro d’inventaire AACB 79631. Available at: http://193.190.214.119/archibaldweb/Picture.csp?Profile=Default&OpacLanguage=fre&Picture=/art-foto/aacb/BD/AACB%20079631.jpg&PictWidth=400&LinkToOrder=0&EncodedRequest=*0A*E4*F3*EF*C1*FB*1C2U*C3*3C*FC*0A*83b*CC (accessed 01.09.2024).
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Received 28.10.2024
Accepted 01.12.2024
