Book contents
- Liszt in Context
- Composers in Context
- Liszt in Context
- Copyright page
- Contents
- Illustrations and Tables
- Contributors
- Preface
- Part I People and Places
- Part II Society, Thought and Culture
- Chapter 10 The ‘War’ of the Romantics
- Chapter 11 Visual Art and Artists
- Chapter 12 Literature and Literary Heroes
- Chapter 13 Liszt, Women and Salon Culture
- Chapter 14 Liszt as a Writer
- Chapter 15 Patronage
- Chapter 16 Liszt and the Networks of Revolution
- Chapter 17 Liszt’s National Identity
- Chapter 18 Liszt and Religion
- Part III Performance and Composition
- Part IV Reception and Legacy
- Further Reading
- Index
Chapter 11 - Visual Art and Artists
from Part II - Society, Thought and Culture
Published online by Cambridge University Press: 23 September 2021
- Liszt in Context
- Composers in Context
- Liszt in Context
- Copyright page
- Contents
- Illustrations and Tables
- Contributors
- Preface
- Part I People and Places
- Part II Society, Thought and Culture
- Chapter 10 The ‘War’ of the Romantics
- Chapter 11 Visual Art and Artists
- Chapter 12 Literature and Literary Heroes
- Chapter 13 Liszt, Women and Salon Culture
- Chapter 14 Liszt as a Writer
- Chapter 15 Patronage
- Chapter 16 Liszt and the Networks of Revolution
- Chapter 17 Liszt’s National Identity
- Chapter 18 Liszt and Religion
- Part III Performance and Composition
- Part IV Reception and Legacy
- Further Reading
- Index
Summary
The nineteenth century saw revolutions not just within discrete artistic disciplines, but also among them. Salon culture and increasing cosmopolitanism brought together writers, painters, sculptors and composers, sparking both competition and collaboration. In his espousal of a Gesamtkunstwerk (Total Artwork) ethos in his music dramas, Richard Wagner was the most vocal proponent of the inseparability of the arts, though in his case this meant serving simultaneously as composer, librettist and director. Later in the century, the Vienna Secession movement offered a more synergistic approach to the Gesamtkunstwerk concept, most notably in their exhibition hall of 1898. Designed by architect Joseph Maria Olbrich with sculptures by Koloman Moser, the Secession Building in Vienna is perhaps most famous for Gustav Klimt’s Beethoven Frieze, an allegorical depiction of the Ninth Symphony that is the earliest significant painting inspired by a piece of music.
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- Information
- Liszt in Context , pp. 94 - 104Publisher: Cambridge University PressPrint publication year: 2021