La Réforme, No. 56 (25 Février 1885). Letter from Fernand Khnopff

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La Réforme, No. 56 (25 Février 1885). Letter from Fernand Khnopff 1885 Khnopff, Fernand, « Lettre adressée à La Réforme, » La Réforme, no. 56 (25 février 1885). Letter from Fernand Khnopff to La Réforme Lundi soir Monsieur, Vous écrivez dans la Réforme du 23: « M. Khnopff a pris, pour incarner Léonora, la tête, d’une frappante ressemblance, d’une de nos artistes lyriques les plus belles et les plus applaudis. » C’est faux. J’ai trouvé dans la description éparai de Joséphin Péladan (entre pages 2, 23, 69, etc.) les traits caractéristiques de ma figure; lorsque j’ai été averti de la ressemblance, j’ai fait tout ce qui était possible pour l’atténuer et si, à l’exposition, je n’ai pas retiré le dessin, c’est qu’on était loin de s’accorder sur la « frappante ressemblance. » Quant au reproche, venant d’autre part, d’ « avoir abusé de la complaisance de Mme. Caron pour exposer aux tableau dont elle repousse tout espèce de collaboration, alors que j’étais venu chez elle pour faire son portrait en tenue de ville, » il est absolument ridicule. Le portrait—commandé—est vu d’un tout autre coté que le dessin, et si j’avais voulu « prendre la tête » de Mme. Caron, il eut été plus facile et surtout plus rapide de me servir d’une photographe. Veuillez, Monsieur, insérer dans votre prochain numéro ces explications définitives et agréer l’expression de mes sentiments distingués. Fernand Khnopff P.S. Dans l’intérêt de l’art, je conseille à Félicien Rops de ne pas risquer, en ce moment, un exposition de son œuvre, ou ne se comptant plus les « têtes, d’une frappante ressemblance, d’une de nos artistes lyriques les plus belles et les plus applaudis. » 16 Khnopff, Fernand, « Lettre adressée à La Réforme, » La Réforme, no. 56 (25 février 1885). Letter from Fernand Khnopff to La Réforme Translation : Monday evening Sir, You write in la Réforme on the 23rd: “Mr. Khnopff, to embody Léonora, has taken the head, with a striking likeness, of one of our finest and most acclaimed lyrical artists.” This is false. I found the characteristic features of my figure in the scattered descriptions of Joséphin Péladan (between pages 2, 23, 69, etc.). When I was warned of the resemblance, I did everything that was possible to mitigate it and if I did not remove the drawing at the exhibition, it is that we were far from agreeing on the “striking likeness.” With respect to the complaint, coming from elsewhere, “of having abused the kindness of Mrs. Caron to exhibit her in a painting for which she rejected all collaboration, made while I came to her to paint her portrait in her street clothes,” it is absolutely ridiculous. The portrait—commissioned—is seen from a completely different side than the drawing, and if I wanted to “take the head” by Mrs. Caron, it would have been easier and certainly faster for me to use a photograph. Please, sir, insert in your next issue these definitive explanations. Sincerely, Fernand Khnopff P.S. In the interest of art, I advise Félicien Rops to not risk at this moment an exhibition of his work without counting the “heads, with a striking likeness, of one of our finest and most acclaimed lyrical artists.” 17 L’Indépendance Belge (24 février 1885), 2. Account of the original Khnopff-Caron incident. La Réforme rapporte les curieux incidents que voici: « On expose en ce moment aux XX trois dessins destinés à illustrer le Vice suprême de Joséphin Péladan, ce livre étrange et pénétrant plein de choses absurdes et de pages superbes où flamboie comme une sentence de menace le Finis Latinorum. « M. Khnopff a pris pour sujet le chapitre XIII du roman; La fille du divin Hercule. Nue et blanche comme une vision, Léonora d’Este fait un geste comme pour s’arrêter au bord d’un gouffre; ses yeux de sybille se fixent comme tournés en elle-même; la superbe, la perverse par pensée vient encore une fois de refréner son désir et, derrière elle, radieux et blancs comme son corps de neige, deux lis montent leur tige orgueilleuse. « M. Khnopff a pris, pour incarner Léonora, la tête, d’une frappante ressemblance, d’une de nos artistes lyrique et les plus belles et les plus applaudies. L’intérêt artistique de ce merveilleux dessin où Fernand Khnopff a mis tout son grand talent, se doublera donc d’un intérêt de curiosité, et, qui sait ? de scandale et de colère aussi. Nous sommes convaincus que la belle cantatrice ignore cette glorification un peu… nue de sa personne, mais les mauvaises langues sont très mauvaises chez nous, et quoiqu’elle soit filante (pour Paris), on pourrait injustement rejeter sur l’étoile le caprice artistique d’un peintre aussi indépendant de caractère que religieux de son art. « Hier, vers trois heures et demie, Mme. Caron se trouvant à l’exposition, accompagnée de Mlle. Legault et de M. Anspach, s’approcha da dessin et, s’étant reconnue, s’adressa vivement a la secrétaire des XX en lui reprochant d’avoir toléré cette exhibition qui l’offensait profondément dans sa dignité de femme. Elle exigea immédiatement qu’on retirât le cadre; M. Maus répondit qu’il devait attendre pour cela les ordres de M. Khnopff; Mme. Caron voulut alors enlever l’œuvre violemment; le jeune secrétaire des XX dût céder à l’injonction; à l’heure qu’il est le tableau a disparu. « P.S.—Deuxième incident.—Nous les serons par tranches là mesure qu’ils nous arrivent. « Au moment où Mme. Caron allait quitter le Salon des XX, M. Fernand Khnopff est entré. « Mme. Caron lui dit quelques paroles saccadées, à la suite desquelles l’artiste prit son dessin et, devant la diva le déchira en mille morceaux. Nous n’apprécions point la conduite du peintre non plus que celle de Mme. Caron; nous les comprenons également; M. Khnopff a agi en galant homme pour réparer les torts qui lui étaient reprochés; nous sommes désolé seulement que le dessin de M. Khnopff, que nous considérons comme son œuvre la plus parfaite, soit détruite à tout jamais. Nous parlons en artiste—non en homme, et ne concluons point. » 18 L’Indépendance Belge (24 février 1885), 2. Account of the original Khnopff-Caron incident. Translation: La Réforme reports the curious incidents that we report here: “At this moment there are three drawings exhibited at the XX [les Vingt] intended to illustrate The Supreme Vice of Joséphin Péladan, that strange and penetrating book full of absurd things and wonderful pages where the menacing threat of the Finis Latinorum blazes. “Mr. Khnopff took his subject from chapter XIII of the novel, The Daughter the Divine Hercules. Nude and white as a vision, Léonora Este makes a gesture as if to stop at the edge of an abyss; her sybilene eyes are fixed and turned in to herself; the superb, the perverse by thought comes again to curb her desire and, behind her, radiant and pale as her snow-white body, two lilies surmount their proud stem. To embody Leonora, Mr. Khnopff has taken the head, with a striking resemblance, of one of our most beautiful and most applauded lyric artists. The artistic interest of this wonderful of drawing, in which Fernand Khnopff put all of his great talent, therefore is doubled in interest from curiosity, and who knows? scandal and anger also. We are convinced that the beautiful singer is unaware of this glorification somewhat... nude in her person, but the evil tongues are very evil among us, and however free-running it might be (for Paris), here one might unfairly throw it back on the star for the artistic whim of a painter who is as independent in character as he is religious towards his art. “Yesterday, at about half past three, Mrs. Caron was at the exhibition, accompanied by Miss Legault and Mr. Anspach, approaching the drawing and, having recognized her likeness, spoke strongly to Secretary of the XX blaming him for having tolerated this exhibition which deeply offended her dignity as a woman. She demanded that the artwork be withdrawn immediately; Mr. Maus responded that he must wait for orders from Mr. Khnopff to do this; Ms. Caron then attempted to violently remove the artwork; the young Secretary of XX was forced to give in to the injunction; at this time the painting has disappeared. “P.S.—Second incident.—We will give them by slices in the measure as they arrived. “At the moment when Mrs. Caron was leaving the Salon of XX, Mr. Fernand Khnopff entered. “Mrs. Caron said a few staccato words, at the end of which the artist took his drawing and tore it in a thousand pieces before the diva. We do not appreciate the conduct of the painter nor that of Mme. Caron; we understand them equally; Mr. Khnopff acted as a gentleman to make amends for the error for which he was reproached; we are only sorry that the design of Mr. Khnopff, which we consider as his most perfect work, was destroyed forever. We are speaking of the artist—not the man, and draw no conclusions.” 19 1890 Khnopff, Fernand, « Referendum artistique, » L’Art Moderne, 10, 52 (28 décembre 1890), 411. Fernand Khnopff, « Referendum artistique ». MON CHER AMI, Être classé maître du genre, sans avoir jamais exposé d’aquarelle et après en avoir à peu près terminé deux, me semble trop flatteur pour ne pas répondre à ton questionnaire. « Words, words », disait Hamlet, et un autre, plus d’aujourd’hui, précisait: « Se taire, se taire et agir en conséquence ». Cela posé: toutes ces « considérations » ne peuvent aboutir qu’au plus étroit maniérisme.
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