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Studies in the Iconography of Franz Liszt

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Studies in the Iconography of Franz Liszt STUDIES IN THE ICONOGRAPHY OF FRANZ LISZT Alan Davison, B.Mus. (Hons) Submitted in total fulfillment of the requirements of the degree of Doctor of Philosophy November 2001 Faculty of Music The University of Melbourne Produced on acid-free paper THE UNIVERSITY OF MELBOURNE Faculty of Music TO WHOM IT MAY CONCERN This is to certify that the thesis presented by me for the degree of Doctor of Philosophy comprises only my original work except where due acknowledgement is made in the text to all other material used. Signature: a„, Name in Full: Ak ay. C)0,uk,vov,_ Date: Z- cl(O .510 ii ABSTRACT This iconographical study examines how Franz Liszt (1811-1886) was represented in visual art and proposes an explanatory framework for analysing these representations. The method of iconographical analysis focuses upon the art historian Michael Baxandall's concept of pictorial style. An essential aspect of this approach is an examination of the use of visual cues to read the iconography of Liszt. Nineteenth- century beliefs of pathognomy (bodily gesture and expression) and physiognomy (physical appearance) were found to have pervaded the iconography. These concepts are then applied to the different genres and media of Lisztian iconography, including the "high art" of oil portraiture, and popular prints such as lithography, photography and caricature. Depictions of Liszt at the piano are analysed separately in an attempt to relate the iconographical study to performance practice. The study found that Liszt was represented differently according to the particular media and genre of the representations, and that there was no unified manifestation of his image. No one model of visual representation has been found, explaining why a single canonical image of Liszt has not endured. There are, however, recurring visual motifs in much of his iconography. Two prominent but contradictory themes within Lisztian portraiture are the representation of Liszt as a Romantic genius, separate from society, and the depictions alluding to the artist as hero, esteemed within society. These differing visual themes reflect Liszt's own uncertainty regarding his emerging role and growing status as a musician. Liszt's association with many leading artists of his time facilitated the cultivation of images that suited his ambitions as a leading Romantic figure. A specifically visual theme present in many portraits is that of allusiveness;. namely an element of evasiveness in Liszt's gaze as seen by the viewer, relating to the concept of the Romantic artist as an isolated genius. A suitably interpreted iconography of Liszt at the keyboard supports a reassessment of his role in the development of nineteenth-century pianism. A large number of depictions were considered unreliable as indicators of Liszt's piano playing, but each medium has its own strengths and weaknesses in terms of historical veracity as a performance practice document; photography, specifically, offers topographical exactness while not being a reliable indicator of posture and gesture. This contrasts with caricatures of Liszt, which were found to indicate reliably his gestures at the piano. These findings are validated through various written records of Liszt throughout his lifetime. It is argued throughout the study that the most appropriate method of analysis of Lisztian iconography is through a recognition and classification of nineteenth- century visual practice. iii ACKNOWLEDGMENTS This thesis would not have been possible without the assistance of numerous people over several years. I would firstly like to thank my supervisor, Professor Warren Bebbington (Dean and Ormond Chair, Faculty of Music), for his encouragement, sage advice and considerable patience. Professor Bebbington gave me the initial impetus to study music iconography through his teaching of the subject at the Faculty of Music. I would also like to thank the academic staff at the Faculty of Music who have offered me much support over the years. In particular, Dr Kerry Murphy has always been enthusiastic and supportive of my research, and always found time to discuss pressing issues with me. My greatest appreciation goes to her. Professor John Griffiths provided initial support for me as an undergraduate when I first undertook historical musicology, and so to him I must give many thanks. I am also indebted to Ms Jennifer Hill (coordinator of CSAM) for her kind support, both mentally and materially. Many other staff members at the Faculty of Music have been most obliging with the day-to-day aspects of my teaching and studying, and I would particularly like to thank Ms Jenny Curley (Degree Programs), Mr Bob Northey (General Manager), Ms Kana Wada-Gudan and Mr Guy Bagnato. Mr David Collins (Technical Officer) was an invaluable aid on innumerable occasions, particularly with computer assistance, always going beyond the call of duty. The staff at the Music Library were always happy to assist me, while displaying good humour consistently at my frequent visits to the loans desk with requests and queries. I would like to thank in particular Ms Lena Vigilante, Ms Christine Webster and Ms Anja Weise. My sincere thanks goes to Mr Ernst Burger, Germany, who shared some of his expert knowledge of Lisztian iconography with me. Dr Maria Eckhardt, of the Liszt Ferenc Memorial Museum, kindly provided advice on some material at the Liszt museum. Sue Cole put enormous effort into revisions and editorial changes, and I owe her a great debt of gratitude. Amongst my postgraduate (or recently graduated) friends and colleagues, many have been very supportive. Peter Campbell was a veritable source of valuable information, assistance and good humour, and only a mere step away. Drs Elizabeth Kertesz and Michael Christoforidis were most encouraging and offered many pearls of wisdom over the years. Patricia Shaw provided precious moments of refreshing company and support. Aaron Corn and Melinda Sawers have been witness to the character-building experiences of my work and research, and have been valued colleagues. Sandra Baker shared many hot drinks with me, and gave me iv encouragement through her own development as a musicologist. Martin Greet has served as both a colleague and been equivalent to a family member over the many years of my studying. Many other friends have supported me over the years, both directly and indirectly. I would particularly like to acknowledge Jodi Raudino, who spent many hours proof reading drafts, which took her away from her own studies. Alessandro Servadei provided advice on scanning the images. May people translated important, and often obscure, material for me, including: Susanne Haring, Beth Fogerty, Marcus Allport and John Nieuwenhuizen. I would like to thank my wonderful wife, Natalie Nugent. Natalie's own success and growth as a researcher, partner and individual has always been a great source of pride and pleasure for me. Natalie worked many late hours revising and editing, particularly the references and footnotes. Her support was crucial for the completion of this thesis, and I cannot thank her enough. My sincere appreciation goes to the two examiners of this thesis: Associate Professor Vera Micznik at the School of Music, University of British Columbia; and Associate Professor James Deaville at the School of Art, Drama and Music, McMaster University. Many improvements were made to the final version of the thesis due to their expert advice and critical comments. Finally, this thesis is dedicated to the memory of Mr Mack Jost, my piano teacher for seven years. Quite apart from his kindness and generosity as a person, Mr Jost gave me the encouragement and the impetus for a career in music. v TABLE OF CONTENTS Declaration ii Abstract iii Acknowledgements iv Table of contents vi List of figures ix CHAPTER ONE Introduction 1 CHAPTER TWO Music Iconography and Portraiture 6 Music Iconography 9 Portraiture as a Genre 12 Iconographic Method 15 CHAPTER THREE Liszt and Portraiture: Poses and Tradition 19 Poses and Social Codes 22 Attributes and Personifications 30 Facial Expression in Art 37 The Significance of Poses and Expressions 49 CHAPTER FOUR Liszt and the Physiognomic Ideal 50 Outline of Physiognomy and Phrenology 52 Physiognomy and Literature 58 Physiognomy and Visual Art 59 The Physiognomic Ideal 63 Liszt and Physiognomy 67 vi CHAPTER FIVE The Artist as Hero: The Isolated Genius 72 Liszt as the Romantic Artist 77 Visual Motifs of the Romantic Artist 81 Oil Portraits of Liszt as the Isolated Genius 84 The Visual Liszt as Romantic Genius 101 CHAPTER SIX The Artist as Leader 106 The Apotheosis of Liszt 106 Liszt as Leader 115 Liszt and Titles: Esteemed as a Musician? 122 CHAPTER SEVEN Liszt in Popular Imagery I: Lithographic Portraits 125 The Print 127 Lithography 129 Lithographs of Liszt 133 Lithographs and the Developing Image of Liszt 147 CHAPTER EIGHT Liszt in Popular Imagery II: Photographic Portraits 150 Background to Photography 152 Photographic Portraiture 155 Photographs of Liszt 161 Photographs from Liszt's Last Years 169 Liszt's Relationship with Photography 174 CHAPTER NINE Liszt in Popular Imagery III: Caricatures 177 Early Modern. History of Caricature 178 Methods for Analysis: Understanding Distortion 182 Subjects of Caricature 185 Caricatures and Music Iconography 186 Caricatures of Liszt 192 Caricatures and Liszt's Reception 209 vii CHAPTER TEN Lisztian Iconography and Performance Practice 213 The Iconography of Liszt at the Piano 218 Trends in the Iconography
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