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The purpose of this article is to augment the concrete knowledge of Khnopff’s art, and thus to enhance the understanding of Symbolist movement as a whole. Fernand Khnopff(1858-1921) is a Belgian Symbolist, who has accepted French Symbolism and English Pre-Raphaelites, thereby fundamentally enriched European Symbolism with the creation of his own style.
Recently, concomitant to the international revival of interest in late nineteenth-century symbolist art, the work of Belgian painter Fernand Khnopff has been rescued from obscurity. The words of ‘Narcissus’ or ‘Narcissistic’ are most frequently found in books or articles on Frnand Khnopff’s art. These words also stand as emblems of his character.
Fernand Khnopff shows the narcissistic inclination in his work. First of all, a peculiar feature of Khnopff’s art is his use of the same female model, his young sister Marguerite. So, some art-historians such as William R. Olander suggested that predominance of Khnopff’s sister in his work represent real or repressed desire for his incestuous relationship. But it is more reasonable that Marguerite is the existence who can represent Khnopff’s identification owing to the resemblance of their figure and that she is the object in whom he can find himself easily. His sister in his work often shows his thoughts on behalf of her brother. And besides, the work 〈Blanc, Noir, et Or〉(1901) had hung on a wall of antechamber in his villa, and above this picture depicting her, had been written a word “soi”(self). Therefore Marguerite in majority of Khnopff’s painting may be the reflection of himself.
Secondly, the mirror in Khnopff’s work functions as the important motif like the water in Narcissus Myth. In his work depicting a mirror-watching woman, however, the mirror is not the tool that exhibits the visible world or the voluptuous beauty of a woman but the media that exposes the other ‘her’ who dwells in the woman’s inner-side. The woman objectifies herself and attempts to come close to the objectified her ‘self’ through the mirror.
Finally, the Narcissistic factor, the death resulted from being absorbed to oneself appears in Khnopff’s work as Narcissus Myth’s tragic ending. It is found that the motifs not only of the Hypnos Statue, the god of sleep and death but also of the poppy and the lily. Moreover the woman depicted in the work, 〈I Lock My Door upon Myself〉(1891), exhibits isolated herself drowning to inner-side toward death losing vitality with exhausted feature. And the work, 〈Who Shall Deliver Me?〉(1891) shows the isolated woman encroached slowly by water into house. These heroines in Knopff’s works concerning the death devote her-selves to the death itself sinking inner-world rather than dream holy heaven after death.
Recently, concomitant to the international revival of interest in late nineteenth-century symbolist art, the work of Belgian painter Fernand Khnopff has been rescued from obscurity. The words of ‘Narcissus’ or ‘Narcissistic’ are most frequently found in books or articles on Frnand Khnopff’s art. These words also stand as emblems of his character.
Fernand Khnopff shows the narcissistic inclination in his work. First of all, a peculiar feature of Khnopff’s art is his use of the same female model, his young sister Marguerite. So, some art-historians such as William R. Olander suggested that predominance of Khnopff’s sister in his work represent real or repressed desire for his incestuous relationship. But it is more reasonable that Marguerite is the existence who can represent Khnopff’s identification owing to the resemblance of their figure and that she is the object in whom he can find himself easily. His sister in his work often shows his thoughts on behalf of her brother. And besides, the work 〈Blanc, Noir, et Or〉(1901) had hung on a wall of antechamber in his villa, and above this picture depicting her, had been written a word “soi”(self). Therefore Marguerite in majority of Khnopff’s painting may be the reflection of himself.
Secondly, the mirror in Khnopff’s work functions as the important motif like the water in Narcissus Myth. In his work depicting a mirror-watching woman, however, the mirror is not the tool that exhibits the visible world or the voluptuous beauty of a woman but the media that exposes the other ‘her’ who dwells in the woman’s inner-side. The woman objectifies herself and attempts to come close to the objectified her ‘self’ through the mirror.
Finally, the Narcissistic factor, the death resulted from being absorbed to oneself appears in Khnopff’s work as Narcissus Myth’s tragic ending. It is found that the motifs not only of the Hypnos Statue, the god of sleep and death but also of the poppy and the lily. Moreover the woman depicted in the work, 〈I Lock My Door upon Myself〉(1891), exhibits isolated herself drowning to inner-side toward death losing vitality with exhausted feature. And the work, 〈Who Shall Deliver Me?〉(1891) shows the isolated woman encroached slowly by water into house. These heroines in Knopff’s works concerning the death devote her-selves to the death itself sinking inner-world rather than dream holy heaven after death.
목차
Ⅰ. 서론
Ⅱ. 크노프의 반영으로서의 마그리트
Ⅲ. 나르시스 신화의 모티프인 거울과 죽음
Ⅳ. 결론
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