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@PHDTHESIS{Lschenberger:51090,
author = {Löschenberger, Nikola},
othercontributors = {Markschies, Alexander},
title = {{H}eld und {A}ntiheld : {L}eitfiguren antiker {A}utoren in
{G}rafikzyklen von {M}ax {S}levogt und {L}ovis {C}orinth},
address = {Aachen},
publisher = {Publikationsserver der RWTH Aachen University},
reportid = {RWTH-CONV-113407},
pages = {214 S. : Ill.},
year = {2012},
note = {Aachen, Techn. Hochsch., Diss., 2012},
abstract = {In art history, the rupture between two interceding styles
is seldom as sharp as between classicism and modern art. The
striving for the human ideal body, presumed as timeless,
loses its influence. Many recently published studies show
the persisting influence of antiquity on avant-garde art in
the beginning 20th century. Picasso, Matisse and others are
well known to have used motives from antiquity, and their
way to find a fresh view on classical topics. Max Slevogt
and Lovis Corinth are well known for huge history paintings.
Also in graphic arts, they created portfolios based on
antique literature. These series of graphic art prove that
Slevogt and Corinth read the chosen authors closely. The
sequence of graphics narrates a story in itself, as the book
they are based on. Today quite forgotten, portfolios with
graphic art were a form of art with characteristics of mass
media. With high circulation and widespread reception
between many collectors portfolios can be platforms for
artists striving for publicity. Portfolios with graphic art
can be attributed to history painting, because they also
discuss actual topics. Prominent in this genre is the
representation of war, a number one theme to be transformed
by art from the beginning of mankind. At the turn of the
century, notably German artists used this art form to deal
with antiquity. Max Slevogt published a series of 15
lithographs on Achill, the protagonist of the Iliad in 1907
at the Munich publisher A. Lange. Because of the war, the
following 9 lithographs on Hector are published by Bruno
Cassirer in 1921. Lovis Corinth edited his portfolio of 15
etchings on the Cena trimalchionis by Petronius in 1919 at
F. Bruckmann in Munich. All three works focus on a single
protagonist. Slevogt chooses the two enemies Achill and
Hector, finding himself in a long tradition of European
history of art. Every decade developed new heroes and
enriches the Iliad on a new interpretation, which reveals
also the characteristics of art at that current time. The
changes in interpretation of the literature referred to also
show the significance of war as a main topic in society. His
preliminary studies show how he strives to find a new access
to traditional scenes as Achill’s abuse on Hector’s
body. But Slevogt also chooses previously never represented
scenes of the Iliad. So he builds a pattern of both
characters which are not free from criticism. Slevogt does
not ignore his prominent predecessors in art history. He
refers openly to some artists and transforms their work. In
other works of his own, Slevogt devotes himself to World War
I, referring to antiquity again. He also worked upon another
epic on archaic war, The Ring of the Nibelung. In his series
of woodcuts he develops the fate of Hagen. As in his work
with Achill and Hector he based his compositions on
classicistic works of art. Slevogt scrutinizes the heroes of
epics as a role he does not claim for himself. He sees
himself as a chronographer who does not try to transgress
the limits between subject and object. Unlike Corinth, whose
work can be described as a permanent quest for the
artist’s self. His self-portraits as a warrior show art at
its prey, in society he takes the part of a highly
artificial primitivism. In his sixties, he chose Trimalchio
to reflect on his oeuvre and himself hiding between false
identities. As a professor for art, Corinth reacts on
artists of Paris avant-garde. The Satyricon, probably
written by Petronius, was seldom illustrated. These few
either show contemporary feasts, mostly as a sardonic
comment, or they try an archeological reconstruction of
roman life. But Corinth does very much more than his few
predecessors. He weaves a pattern of quotations: of antique
art, mostly from Berlin Museums, his own oeuvre and famous
artists as Rubens. He even refers to Picasso and Matisse.
Corinth uses the role of Trimalchio, a rather vulgar person,
to reflect on the Berlin art market and French avant-garde
art. So he uses two following dance scenes to play with an
iconic tradition. Even at risk of being regarded as a
philistine (and prevented by his self-dramatization) Corinth
frees himself from all conventions. At the mock deathbed of
Trimalchio the artist claims immortality. His insouciant use
of antique sources can also to be found in Corinth’s
paintings. Here he adopts the role of Dionysus, saving art.
The artist, viewer and art appear in his oeuvre as equals
and lovers. Corinth satirizes the ever-present censorship in
Venuswagen, up to erotic art in Liebschaften des Zeus. Both
artists find a new approach to Antiquity by heroes and
antiheroes of literature. Slevogt frees Achill and Hector
from long-living stereotypes and comments likewise on
contemporary enthusiasm for war and the disillusion at the
beginning and end of World War I. Freeing the Iliad from
idealistic tendencies he prepares the ground for Corinth’s
playful interpretation of antiquity as a mirror for
himself.},
keywords = {Graphischer Zyklus (SWD) / Slevogt, Max (SWD) / Gesichte
(SWD) / Corinth, Lovis (SWD) / Impressionismus (SWD) /
Achill (SWD) / Hektor (SWD) / Ilias (SWD) / Heroismus (SWD)
/ Weltkrieg <1914-1918> (SWD) / Historienmalerei (SWD)},
cin = {218010},
ddc = {700},
cid = {$I:(DE-82)218010_20140620$},
typ = {PUB:(DE-HGF)11},
urn = {urn:nbn:de:hbz:82-opus-43348},
url = {https://publications.rwth-aachen.de/record/51090},
}
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