Musée d'Orsay: 48/14, La revue du musée d'Orsay, issue # 13, Autumn 2001

48/14, La revue du musée d'Orsay, issue # 13, Autumn 2001

48/14, La revue du musée d'Orsay (1995-2011)
Collectif, Dominique Viéville, direction
Around A. Böcklin
Musée d'Orsay / Réunion des musées nationaux - 2001
soft cover
€ 11 - available

Actualités (News)

Presentation of forthcoming exhibitions:

  • Böcklin
  • Klinger / Brahms
  • Strindberg
  • Second-Skin Life Cast
  • The Art of Eating in the 19th century
  • Paris / Barcelona (at the Galeries Nationales du Grand Palais)

New acquisitions: presentation of around thirty new acquisitions by the museum, including a painting by Monet.

Etudes (Research)

Böcklin, Burckhardt and Italy
by R. Kopp, professor of Literature, Basel University
A historian of the Renaissance and a staunch supporter of its values, Burckhardt, who was eight years older than Böcklin, encouraged him as early as 1850 to head for Italy in order to absorb the antique and humanist heritage.
It was in Rome that the painter, as a Modernist, adopted the mythology of the Ancients for good. Also from Bâle, Robert Kopp, analyses the ties of complicity between the two men and the reasons that put them to an end.

Böcklin, or modernity's return to the Antiquities
by J. Le Rider, professor, Ecole pratique des Hautes Etudes
If Nietzsche, who secured a professorship in Bâle in 1869, never met Böcklin, he nevertheless gave him a place of choice in his analysis of modern painting and in his conception of the Greco-Roman world. The kinship between the writer and the painter lies not so much in the interest for the Dionysian as in setting up the solitary individual as a hero and in the pessimistic analysis of the modern world.

Two unfrocked romantics
by M. Espagne, professor, Ecole pratique des Hautes Etudes
There is no biographical connection between the poet Heine and the younger artist Böcklin. However there lies a constant dialogue, of which the paintings of the latter bear numerous traces. The ancient gods, their free and frantic lifestyles and their determination to endure echo between the artists as continuous themes. And The Isle of the dead, with which Böcklin was obsessed during the 1880s may be a reminiscence of the island of Birmini which Heine had elected to be the extinction of his earthly existence and the place of his re-birth.

"A Brother in Arms in spirit": Böcklin and Grünewald
by S. Lecocq-Ramond, curator, Unterlinden Museum
The German world, in Switzerland as in Germany, rediscovers its primitives as early as the beginning of the XIXth century. During the search for national models, romanticism reinvented Dürer. Böccklin's and Burckhardt's generation turned toward Holbein and Grünewald. Visiting the altar piece in Issenheim became little short of a pilgrimage. Long before Huysmans, Böcklin traveled to Colmar in order to investigate the forgotten modernity of the old masters.

Klinger and Brahms: a communion of the ineffable
by E. Héran, curator Musée d'Orsay and P. Korzilius, auditorium Musée d'Orsay
According to Klinger, etching is an autonomous expression that should not abide by the imperatives of illustration. His Brahmsphantasie, a series of 41 plates published in 1894 as a tribute to the musician whose friendship he
nearly earned: multiple links are traced between letters, sounds and lines in a deliberately obscure fashion. An image, in itself is cryptic. It claims to be not only the echo of "internal impulses" but also a request for the fusion of all arts.


  • Previously unpublished translation into French of the prologue of the second version of The Death of the Titian by H. von Hofmannsthal and of Idyll by the same poet, two texts bearing close links with Böcklin, together with a poem by George (about ten pages abundantly illustrated).
  • Texts and pictures of the removal of La Marseillaise by Rude due to renovation works

  • See the collection

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