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Schoenberg and the Gesamtkunstwerk Path to Abstraction By Schoenberg and the Gesamtkunstwerk Path to Abstraction by John Blythe A thesis submitted to the University of Birmingham for the degree of MA by Research in the History of Art Dept. of Art History, Curating and Visual Studies, College of Arts and Law, University of Birmingham. February 2019. University of Birmingham Research Archive e-theses repository This unpublished thesis/dissertation is copyright of the author and/or third parties. The intellectual property rights of the author or third parties in respect of this work are as defined by The Copyright Designs and Patents Act 1988 or as modified by any successor legislation. Any use made of information contained in this thesis/dissertation must be in accordance with that legislation and must be properly acknowledged. Further distribution or reproduction in any format is prohibited without the permission of the copyright holder. To the technicians Tom and Marlowe Contents Lists of Figures Lists of Illustrations Introduction page 1 Schoenberg’s First Exhibitions page 3 Review of literature page 14 National Gallery Exhibition page 20 Berlinische Exhibition page 27 Richard Gerstl page 29 Schoenberg’s Jewish Antecedents page 35 Research Methodology page 43 Thesis Structure page 51 Chapter 1 Schoenberg’s fin-de-siècle Vienna and Harmonielehre. page 53 The Discourse on Synaesthesia in fin-de-siècle Vienna page 53 Austrian culture and politics page 56 Origins of Viennese Discourse on Synaesthesia page 60 A Widening Discourse page 66 Schoenberg’s Harmonielehre page 76 Honoré de Balzac’s Seraphita page 90 Summary page 92 Chapter 2: First Triad – Wagner, Schopenhauer and Schoenberg. page 94 Gesamtkunstwerk page 94 Overtones to the First Triad page 116 Gurrelieder, a new redemption page 125 Summary page 128 Chapter 3: Second Triad and the Idea of Language. page 130 Loos and Kraus: responses to the Secession page 132 Reading Harmonielehre through Loos’s Eyes page 134 Reading Harmonielehre through Kraus’s Eyes page 146 Overtones page 154 Chapter 4: Third Triad, Kino-Debatte and Moving Colour page 160 Schoenberg and cinema page 162 Schoenberg and the artistic stimulus of page 168 the cinema Kino-Debatte –what should cinema be? page 174 Moving Colour page 187 Overtones page 200 Summary page 202 Chapter 5: Fourth Triad: Swedenborg, Balzac, and Schoenberg page 206 Introduction page 206 Assessing the importance of Balzac and Swedenborg for Schoenberg page 208 Schoenberg and Correspondences: Seraphita the Gesamtkunstwerk page 221 “Seeing” Seraphita page 225 Overtone: Strindberg’s Jakob ringt (Wrestling Jacob) page 237 From Seraphita to Die Jakobsleiter page 245 Summary page 247 Conclusion: Un chef-d’oeuvre inconnu? page 248 Figures Except where indicated, images are located at the Arnold Schoenberg Center (ASC) Vienna. fig.1. Red Gaze, 26 March,1910, oil on cardboard, 28 x 22 cm, signed and dated, 26.03.1910. fig.2. Brown Self-Portrait, 1910, oil on canvas, 32 x 20 cm, signed and dated 16.03. 1910, Library of Congress, Washington. D.C. fig. 3. Walking Self-Portrait, 1911, pencil on paper, 39.3 x 31.8 cm, unsigned and undated, 1911. fig.4. Gaze, May 1910, oil on cardboard, 32.2 x 24.6 cm, signed and dated, May 1910 fig.5. Blue Self-Portrait, 1910, oil on three-ply panel, 31.1 x 22.9 cm, signed and dated 13.02.1910. fig. 6. Portrait of Hugo Botsiber, before October 1910, oil on cardboard, 73 x 50 cm, unsigned, before October 1910. fig.7. Aberglaude (Superstition), c.1900/1901, pen and ink on paper, 34.7 x 21.7 cm, unsigned and undated, c.1900/01. fig. 8. Nachstücke (Nocturne) III, April 1911, oil on three-ply panel, 21 x 20 cm, c. April 1911. fig.9. Erinnerung an Oskar Kokoschka (Memory of Oskar Kokoschka), April 1910, oil on board, signed and dated, April 1910. fig.10. Vision, c.1910, oil on board, 25.5 x 16 cm, unsigned and undated, May 1910? figs.11 and 12. Untitled Fragment, c.1910, oil on board, 33.9 x 22.2 cm, unsigned and undated, May 1910? fig.13. Denken (Thinking), before October 1910, oil on board, 22.3 x 25.1 cm, Unsigned and undated, before October 1910. fig.14. Gaze, c.1910, oil on cardboard, 31.5 x 28 cm, unsigned and undated, c.1910. fig.15. Blue Gaze, March, 1910, oil on cardboard, 20 x 23 cm, signed and dated, March 1910. fig. 16. Gaze, March 1910, oil on canvas, 28 x 20 cm, signed and dated, March 1910. fig. 17. Gaze, March 1910, oil on cardboard, 24 x 18.2 cm, unsigned and undated, March 1910. Illustrations illus.1. Wassily Kandinsky (1866-1944) Impressions III (Concert), 1911, oil on canvas, 77.5 x 100.5 cm, Städtische Galerie im Lenbachhaus, Munich. illus.2. Arnold Schoenberg, Gustav Mahler, 1910, oil on board, 45.6 x 44.5 cm, signed and dated, 1910, Arnold Schoenberg Center, Vienna. illus.3. Edward Timms, A diagram of creative interaction in Vienna around 1910, in Karl Kraus, Apocalyptic Satirist Culture and Catastrophe in Habsburg Vienna, New Haven and London, 1986, p.8. illus.4. Vincent van Gogh (1853-90) Self-portrait with Bandaged Ear, 1889, oil on canvas, 60.5 x 50 cm, Courtauld Gallery, London. illus.5. Franz Marc (1880-1916) The Large Blue Horses, 1911, oil on canvas, 105.7 x 18.1 cm, Walker Art Center, Minneapolis. illus.6. Arnold Schoenberg, L. H.? 1909, oil on canvas, 42 x 57 cm, signed but undated, c.1909, Arnold Schoenberg Center, Vienna. illus.7. Arnold Schoenberg, Defeated, also known as The Conquered, 1919, watercolour on paper, 35.7 x 25.6 cm, signed and dated, April 1919, Arnold Schoenberg Center, Vienna. illus.8. Édouard Schuré (1841-1929) Engraving of Bayreuth Festival Theatre, 1876, illustrating the vast stage, hidden orchestra pit, bright stage lights and darkened auditorium. illus.9. Scene I of Das Rheingold, printed image of first Bayreuth Festival performance, 1876. illus.10. Hofburg, Michaelerplatz, Vienna. The Imperial residence opposite the Looshaus. illus.11. Adolf Loos (1870-1933) The Looshaus - Mein Haus Am Michaelerplatz. illus.12. Die Zeit cartoon of 6 April 1913, the Skandalkonzert, Watschenkonzert, or “ear-boxing” concert. Illus.13. Aberglaube (Superstition), pen and ink on paper, 34.7 x 21.7 cm, c. 1900/1901, ASC, Vienna. Illus.14. Nachstück (Nocturne) III, oil on three-ply panel, 21 x 20 cm, c. April 1911, ASC, Vienna. illus.15 and 16. Two scenes from Die glückliche Hand (The Hand of Fate), oil on cardboard, 21.8 x 30.2 cm, and pastel on cardboard, 12.6 x 15.7 cm, both unsigned and undated, before October 1910, ASC, Vienna. illus.17. Eugene Delacroix (1798-1863) Jacob Wrestling with the Angel 1857-61, fresco, 758 x 491 cm, Saint-Sulpice, Paris. Introduction Not only was I…the first to paint such things (I called it: ”making music in colours and forms,” and nobody could do that like I could!), but these things are also quite valuable because of my historic status in music. Letter from Arnold Schoenberg to Otto Kallir, 5 June 1945. 1 This thesis concerns the recognition of the Austrian composer, musicologist and painter, Arnold Schoenberg (born in 1874 in Vienna, died 1951 in San Francisco, USA) as one of the earliest proponents of modern visual abstraction. Otto Kallir (1894-1978) wrote to Schoenberg about the exhibition in Vienna of Schoenberg’s paintings some forty years earlier: were the paintings still in existence and could they be exhibited again in America? Schoenberg’s response identifies the questions this thesis seeks to answer: the status of Schoenberg’s paintings as some of the earliest abstracts; and their relationship to the synthesis of the arts, Gesamtkunstwerk. This thesis will establish that Schoenberg planned a Gesamtkunstwerk so this thesis identifies those elements from Schoenberg’s writings and images and from the cultural discourse of based upon the harmonic ideas contained within his treatise Harmonielehre and the Swedenborgian religious ideas of redemption in the novella Seraphita by Honoré de Balzac (1799-1850).2 Schoenberg’s Gesamtkunstwerk 1 Christian Meyer and Therese Muxeneder, Arnold Schoenberg catalogue raisonné, Vienna, 2005 p.79. Henceforth, this is referred to as Meyer and Muxeneder. The punctuation is Schoenberg’s. This letter is not to be found in ed. Erwin Stein, Arnold Schoenberg Letters, trans. Eithne Wilkins and Ernst Kaiser, London and Boston, 1964, which is the more usual source of Schoenberg’s letters, but is to be found in the Arnold Schoenberg Center in Vienna, henceforth ASC and cited in Meyer and Muxeneder. 2 Arnold Schoenberg, Harmonielehre (The Theory of Harmony), trans. Roy E. Carter, London, 1978. First published Vienna 1911, the translation by Carter is of the third German edition of 1922, the only significant difference between the first edition and the third being the dedication in the latter to “the Hallowed Memory of Gustav Mahler”. Whilst other translations have been published, these are 1 would utilise the new technologies of electric light, colour and moving images, a cinematic production, and would have been, had it been realised, one of the first of its type in history. It will be argued that Schoenberg’s painted images, the Fantasies, are part of his preparation for a filmed Gesamtkunstwerk and in themselves are some of the earliest examples of visual abstraction. This requires that art historians reconsider Schoenberg’s place in history by offering an alternative art-historical narrative of abstract art’s development to the one in which painting, two-dimensions of coloured material applied to a flat surface, holds the privileged place. Recent discussion about the development of abstraction, as in for example, the work edited by Leah Dickerman, seeks to apply analogous concepts of the abstract use of colour in painting to the development of musical harmony and “tone colours” by composers like Schoenberg.
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