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1

Postać kobiety w korespondencji Gustava Klimta, Egona Schielego i Oskara Kokoschki

100%

Balkan M.

Orbis Linguarum

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2018

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issue 52

89-103

EN

Female Figures in the Correspondence of Gustav Klimt, Egon Schiele and Oskar Kokoschka Bringing to mind the artistic achievements of the three greatest representatives of the Viennese Modernism – Gustav Klimt, Egon Schiele and Oskar Kokoschka one cannot pass over the role, women had on their oeuvre. The purpose of this paper is to analyze the relationships they had with the most significant women in their lives and determine the issues and topics that prevailed in their correspondence until 1919.

2

Tęsknota za rajem w „Die Träumenden Anaben” Oskara Kokoschki

99%

Długosz M.

Biuletyn Historii Sztuki

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2012

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vol. 74

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issue 2

329-339

EN

The motif of paradise in the culture and art of the turn of the 19th and 20th centuries ranks among the most important ones, while in Vienna, apart from being so meaningful for writers (e.g. Hugo von Hofmannsthal) and artists from the Secession circle (Gustav Klimt, Josef Hoffmann, Josef Maria Olbrich and others), it was also important to Oskar Kokoschka. This can be well seen in the poetical lithograph-illustrated fairy tale Die Träumenden Knaben, designed by him as a Gesamthkunstwerk in 1907/8. In the text- and image-layer, the youthful work deeply rooted in the tradition, drew inspiration from e.g. the ideas of J. W. von Goethe and Adalbert Stifter.

3

Symboliczne wcielenia Oskara Kokoschki - Tristan

41%

Długosz M.

Roczniki Humanistyczne

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2013

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vol. 61

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issue 4: Historia Sztuki

159-203

EN

From the very beginning of his artistic career Oskar Kokoschka systematically used historical, literary and mythological persons, whose figures, being recognizable in culture, facilitated the expression of his own psychological states and life experiences. The young painter, familiar with the classic works of literature, was also fascinated by music. One of his most vivid musical memories mentioned in an interview after more than half a century, was connected with his visits at the Vienna opera horse where he hare heard concerts directed by Gustav Mahler. A an especially enduring memory was that of the performance of R. Wagner’s drama Tristan und Isolde. From that time on the story of the mythical couple of lovers dominated the artist’s imagination, and after his meeting with Gustav's widow, Alma Mahler, he was able to assume a personified figure involving all the three people. As a result Kokoschka and Alma's love affair was supposed to develop according to the historical and mythical scenario of the medieval, and originally Celtic, saga. The artist first played the role of a life-guardsman seeking the favor of the patron of the Vienna cultural elite, and also seeking the hand of the inaccessible „queen” left by the dead director, „the old king”. Having won her acceptance the painter was able to be in her good graces for some time as her lover. However, a tragic turnabout, and at the same time the end of the relation, was inevitably inscribed in the process, in which the „young pretender” Kokoschka, having entered the role of the king, next had to give way to the next candidate. Stages of this symbolic process can be seen in Kokoschka’s letters as well as in his literary and visual works from the period of his relationship with Alma Mahler in the years 1912-1915, when one compares the facts from the protagonists’ lives with, among others, the medieval versions of the Tristan legend and its version composed by Wagner.

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1 Biuletyn Historii Sztuki

1 Orbis Linguarum

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2 Długosz M.

1 Balkan M.

1 2018

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Postać kobiety w korespondencji Gustava Klimta, Egona Schielego i Oskara Kokoschki

Tęsknota za rajem w „Die Träumenden Anaben” Oskara Kokoschki

Symboliczne wcielenia Oskara Kokoschki - Tristan