Spiritual transcendence and androgyny within Swedish and Finnish transnational SymbolismBirte Bruchmüller. Spiritual transcendence and androgyny within Swedish and Finnish transnational Symbolism , Möklinta, Gidlunds Förlag, 2022. 344 pp, ISBN 978 91 7844 495 3

IF 0.2 2区 艺术学 0 ART KONSTHISTORISK TIDSKRIFT Pub Date : 2023-11-02 DOI:10.1080/00233609.2023.2277454
Marja Lahelma
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Abstract

Click to increase image sizeClick to decrease image size Notes1 Riikka Stewen, “Circles of Love: The mythologies of Magnus Enckell”, in Magnus Enckell 1870-1925, ed. by Jari Björklöv and Juha-Heikki Tihinen, transl. by Tomi Snellman, Helsinki, Helsinki City Art Museum, 2000, pp. 40–65.2 For example, the exhibitions Hilma af Klint: Paintings for the Future, Solomon R. Guggenheim Museum, New York, 12 October 2018–23 April 2019; and Hilma af Klint & Piet Mondrian: Forms of Life, Tate Modern, London, 20 April – 3 September 2023.3 See, for example, Karin Ström Lehander, “Tyra Kleen Artist and Spiritual Seeker”, Approaching Religion Vol. 11, No 1, 2021, pp. 174–183.4 The exhibition Mystical Symbolism: The Salon de la Rose + Croix in Paris, 1892–1897, Solomon R. Guggenheim Museum, New York, 30 June – 4 October 2017, was the first ever museum presentation of the Salons de la Rose + Croix. Unfortunately, the exhibition and the essays in the accompanying catalogue reflect an outdated view of the relationship between esotericism and modern art, hence missing the opportunity for a truly critical reflection of Péladan’s role in this context. See Michel Ferut and Elizabeth Franzen, eds., Mystical Symbolism: The Salon de La Rose+Croix in Paris, 1892-1897, New York, Guggenheim, 2017; see also Chaitow’s criticism of the exhibition in Son of Prometheus: The Life and Work of Joséphin Péladan, Munich, Theion Publishing, 2023, pp. 60–64.5 Chaitow’s extensive book on Péladan’s life and work (2023) did not appear until after the publication of Bruchmüller’s thesis, but other contributions by her would have been available. See for example, Sasha Chaitow, “Return from Oblivion: Joséphin Péladan’s Literary Esotericism”, in The Occult in Modernist Art, Literature, and Cinema, ed. by Tessel M. Bauduin and Henrik Johnsson, New York, Palgrave Macmillan, 2018, pp. 113–136.6 Chaitow 2018; Chaitow 2023.7 See my analysis of Thesleff’s self-portrait in Marja Lahelma, Ideal and Disintegration: Dynamics of the Self and Art at the Fin-de-Siècle, PhD diss., Helsinki, University of Helsinki, 2014, pp. 148–179.8 See, for example, Michelle Facos, Symbolist Art in Context, Berkeley, University of California Press, 2009; Rodolphe Rapetti, Symbolism, transl. by Deke Dusinberre, Paris, Flammarion, 2005.
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瑞典与芬兰跨国象征主义中的精神超越与雌雄同体。瑞典和芬兰跨国象征主义中的精神超越与雌雄同体,Möklinta, Gidlunds Förlag, 2022。344页,ISBN 978 91 7844 495
注1 Riikka Stewen,“爱的圈子:马格努斯·恩克尔的神话”,《马格努斯·恩克尔1870-1925》,由Jari Björklöv和Juha-Heikki Tihinen主编,翻译。托米·斯内尔曼,赫尔辛基,赫尔辛基市艺术博物馆,2000年,第40-65.2页。例如,“希尔玛·克林特:未来绘画”展览,所罗门·r·古根海姆博物馆,纽约,2018年10月12日至2019年4月23日;例如,参见Karin Ström Lehander,“Tyra Kleen艺术家和精神寻求者”,走近宗教Vol. 11, No . 1, 2021, pp. 174-183.4展览神秘的象征主义:巴黎玫瑰+十字架沙龙,1892-1897,所罗门R.古根海姆博物馆,纽约,2017年6月30日至10月4日,是玫瑰+十字架沙龙的第一次博物馆展示。不幸的是,展览和随附目录中的文章反映了一种过时的观点,即神秘主义和现代艺术之间的关系,因此错过了真正批判性地反思padjladan在这种背景下所扮演的角色的机会。参见米歇尔·费鲁特和伊丽莎白·弗兰岑主编。,神秘的象征主义:巴黎玫瑰与十字架沙龙,1892-1897,纽约,古根海姆,2017;另见Chaitow对展览的批评,见《普罗米修斯之子:乔斯·萨芬·帕姆拉西丹的生活和工作》,慕尼黑,Theion出版社,2023年,第60-64.5页。Chaitow关于帕姆拉西丹生活和工作的广泛著作(2023年)直到bruchm勒的论文发表后才出现,但她的其他贡献是可以得到的。参见Sasha Chaitow,“从遗忘中回归:jossamphin psamladan的文学神秘主义”,载于现代主义艺术,文学和电影中的神秘主义,由Tessel M. Bauduin和Henrik Johnsson主编,纽约,Palgrave Macmillan, 2018,第113-136.6页;参见我对塞尔夫自画像的分析,见Marja Lahelma,《理想与解体:自我与艺术的动态》,博士论文。参见米歇尔·法科斯,《语境中的象征主义艺术》,伯克利,加州大学出版社,2009年;鲁道夫·拉皮蒂,《象征主义》,译。Deke Dusinberre,巴黎,Flammarion, 2005。
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期刊介绍: Konsthistorisk tidskrift/Journal of Art History includes investigations on art, architecture, and visual culture. We welcome articles on works, creators, and specific themes, as well as on theory and historiography. Accepted articles can be thorough explorations of a topic in accordance with a standard academic genre. We also welcome texts in a shorter, less finished format, functioning as openings to discussions.
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