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Fernand Khnopff and Ver Sacrum Fernand Khnopff and Ver Sacrum by Geoffrey Simmins In addition to telling us a good deal about Scholarship on Fernand Khnopff (1858-1921) has Khnopff, this issue of Ver Sacrum makes it possible been enriched recently by a catalogue raisonne on to broach a number of themes relevant to the whole the artist, the first retrospective exhibition devoted Symbolist period. For instance, because the critical to his work, as well as numerous specialized studies, assessment of Khnopff's work is given in a maga­ mostly concerned with iconography. [1} What may zine, this underscores the importance of art publica­ still be lacking in Fernand Khnopff studies, however, tions during the late nineteenth century. Khnopff's is an attempt to show how Khnopff's work was re­ graphic illustrations for the magazine are an ex­ garded by his contemporaries - how they saw it as cellent demonstration that many Symbolist artists 'Symbolist'. An excellent vehicle for such a study, were interested in sister arts to painting. The mag­ thus far not singled out for intensive analysis in its azine also attests to the cosmopolitanism and inter­ own right, is provided by the special issue in Decem­ nationalism of the period. This issue on the Belgian ber 1898 of the Viennese Secessionists' magazine Ver artist Khnopff is published in a Viennese publica­ Sacrum, devoted to Khnopff. [2] tion accompanied by poetry and texts by French, Austrian and Belgian writers. This degree of inter­ Ver Sacrum, the official voice of the Viennese Se­ nationalism is far from an anomaly: among many cession, was a high-quality publication devoted prin­ other similar instances are the Glasgow Four find­ cipally to the visual arts and contemporary liter­ ing their most fertile ground in Turin and Vienna. ature. Its first issue appeared in January, 1898; it published regularly until 1903.[3} Its special is­ Accordingly, there are several overlapping reasons sue on Khnopff contains numerous reproductions of for studying this issue of Ver Sacrum: 1) the mag­ paintings by Khnopff, as well as graphic illustra­ azine provides a case study by which Khnopff's art tions and photographs of his sculptures; accompany­ can be interpreted as his contemporaries saw it; 2) ing these illustrations are texts on Khnopff and his it shows how important art periodicals such as Ver work, written by leading Viennese and Belgian writ­ Sacrum were in fostering - and disseminating - a ers. Maurice Maeterlinck (1862-1949), Khnopff's particular image of an artist; 3) it serves as a partic­ fellow Belgian, contributes a play which is sympa­ ularly rich documentary source, integrating art and thetic in tone to Khnopff's work, the puppet drama literature. Only by examining Khnopff's work in the La Mort de Tintagiles.[4} Khnopff, a polished writer broader context of literature and the decorative arts himself, contributes an article excerpted from pre­ is it possible to arrive at a reasoned answer to the viously published writing. This was the first issue question of how, precisely, Khnopff's art was viewed of Ver Sacrum devoted entirely to the work of one as Symbolist artist. We should first review the circumstances which Studying this ensemble of reproduced paintings, led to Khnopff's participation in the Viennese Se­ graphic illustrations and complementary texts pro­ cessionist exhibitions. The Secessionists were from vides an opportunity to look at Khnopff's work in the first internationalist in outlook.[5] The Seces­ contezt. The texts by and on Khnopff, interpreted sionist artist Josef Engelhart (1864-1941), who had in tandem with illustrations, make it possible to ex­ contacts in many other countries, was delegated to amine Khnopff's art as it would have be en seen by contact foreign artists regarding their possible par­ the international audience which read Ver Sacrum. ticipation in the Secessionist's first exhibition early Because the texts which accompany the illustrations in 1898. Among those he contacted were Khnopff, offer some critical commentary onKhnopff's art, the Rodin, Eugene Carriere, Puvis de Chavannes and magazine becomes in offect a contemporary assess­ Whistler - all of them leading artists. associated ment of the artist's work - almost a retrospective with the various movements against academic art exhibition of the artist's work to that date. which characterize the late nineteenth century. All 33 34 Canadian Journal of Netherlandic Studies of them, including Khnopff, declared their support. from aristocratic Austrian stock. )[10] The Emperor, Encouraged by the enthusiastic support from foreign it will be remembered, attended the opening of the artists, the Secessionists were spurred on in their Gartenbau Ausstellung. efforts to hold an exhibition. They lacked a suit­ Before proceeding to a detailed description and able exhibition space, however, and eventually had analysis of the magazine's contents, however, I wish to rent a building from the Viennese Horticultural to sound a note of caution. We do not know with Society. Their inaugural exhibition, held 26 March any precision what Khnopff's role was in putting to­ to 15 June, took its name from the building where gether this issue of Ver Sacrum. [11] We do not know it was held: the Gebaude der Gartenbau Ausstel­ when exactly he was invited to have his work shown lung. The Secessionists did not lack friends in high in Ver Sacrum; what his relations were to the editors places; the Emperor Franz Josef attended the open­ of the magazine has been impossible to determine. ing night ceremonies. Engelhart writes that the ex.,. Khnopff's recent biographers write that he was re­ hibition was "the first occasion on which anyone had sponsible for the 'mise en page' of the magazine.[12] been able to get some idea of the work of the best I interpret this to mean that he was responsible for French, English, Belgian and German artists of the laying out the pages, perhaps in collaboration with period."[6] Among those who participated were the the magazine's art director. Did he also have a hand group recruited by Engelhart - including Whistler, in choosing the texts? We cannot say. It does not Puvis de Chavannes and Walter Crane - and many change matters to any great extent if he did not others, including Frank Brangwyn, Arnold Bocklin, choose the texts, or even if he did not layout the Rodin, Segantini, Klinger and Stuck. Khnopff ex­ pages of the magazine; he certainly made a signif­ hibited twenty works, making him the single largest icant contribution in any case. But without doc­ contributor.[7] The exhibition was wildly successful, umentary evidence showing exactly what work he so much so that the Secessionists were able to hold performed for this issue, caution impels me to avoid another one later that year, this time held in the calling the magazine 'his' work. Nevertheless, since Society's new building, designed by Joseph Maria tradition has it that he was responsible, I will still Olbrich (1867-1908). Khnopff sent nine works.[8] refer to the images and texts as if they had been Part of the reason for the immense success of the selected by him. first Secessionist exhibition was the popular acclaim Another methodological problem is raised by the accorded Khnopff's works. A whole room was re­ type of illustrations which are included. A dis­ served for him; his paintings were thronged by a tinction needs to be made between the illustra­ curious and generally favorable impressed public. tions Khnopff executed especially for this issue of It was the kind of reception that caused his friend the magazine and those which reproduce works cre­ and first biographer, the poet Emile Verhaeren, back ated in another context. The illustrations designed home in Brussels, to write that Khnopff had received specifically for the magazi~e are restricted to the "dans toute la presse viennoise, des eloges les plus cover, two decorated initials and three illustrations flatteurs." [9] for La Mort de Tintagiles. Since the illustrations de­ This popular success doubtless influenced Ver signed specifically for the magazine present a closer Sacrum's editorial board when it decided to award melting of text and illustrations than those repro­ him the signal honor of a special issue devoted to his duced from other sources, should they be analyzed work. There were also other reasons which prob­ by different methods? The illustrations for Tintag­ ably influenced the board in Khnopff's favor. In iles, for example, are indissolubly linked to the text. 1898 Khnopff was at the peak of his powers and In most other instances the link between text and was widely admired across Europe. He was just the illustration is at first glance more tenuous. Two ex­ sort of artist who could demonstrate the Secession­ amples will make this distinction clear. An illustra­ ist's policy of internationalism in the arts. The year tion from Tintagiles (fig. xxx) may be compared to 1898 also marked Khnopff's thirtieth birthday and another page from the magazine (fig. xxx), where although nowhere in the magazine is there a refer­ we see a decorated initial, a reproduction of a fron­ ence to this, perhaps it was also in the minds of tispiece, and a separate text. Not only were images the Secessionist artists. Also, Emperor Franz Josef and text executed at different times and for differ­ celebrated the fiftieth anniversary of his reign 1898. ent clients, they seem singularly unrelated themat­ This provides an additional reason for the special ically. The initial, executed in 1887, was designed issue on Khnopff, as there had historically existed a for a printer in Brussels. The frontispiece reproduces close link between Austria and Belgium. (Khnopff Khnopff's title page for the Belgian writer Gregoire also had ancestors on his mother's side who sprung Le Roy's book, Mon coeur pleure d'Autrefois, pub- Canadian Journal of Netherlandic Studies 35 lished in 1889.
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