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Bonnefoit, Régine
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Bonnefoit, Régine
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Professeure ordinaire
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regine.bonnefoit@unine.ch
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- PublicationRestriction temporaireArtist Friends – Artist Foes: Egon Schiele and Oskar Kokoschka(2024)The starting point for the chapter on artist friends and foes are two works created around 1917/18 in which Egon Schiele (1890–1918) and Oskar Kokoschka (1886–1980) each depict their friends and peers of that time gathered around a table. “Friends”, as Kokoschka’s painting is called, shows a private party with all chairs occupied, whereas Schiele leaves one or two chairs vacant in the various versions of his work. Both artists take a place of honor at the head of the table in the gatherings composed by them. Schiele used the oil painting “The Friends (Round Table)” as the motif for his poster for the 49th Exhibition of the Vienna Secession, which was held from 1st March to 1st April 1918. Schiele curated this group exhibition and also invited Kokoschka to participate, but the latter declined. This essay attempts to trace any personal contact between the two artists. In the light of scarce historical sources, this choice of topic may seem surprising. What is more, Kokoschka vehemently insisted in the 1940s that he had never met Schiele in person. He repeatedly denied any assumptions that he and Schiele had been friends. Taking into consideration the many patrons, collectors, clients and friends they had in common or the exhibition venues and galleries at which the two artists might have run into each other, it seems more than unlikely that they never met. Carl von Reininghaus, Oskar Reichel and Franz Hauer collected works by both Kokoschka and Schiele; both artists participated in the Internationale Kunstschau Wien 1909, in the exhibition Neukunst Wien at the Budapest Művészház in 1912, in the 1912 Sonderbund Exhibition in Cologne, in the Wiener Kunstschau held at the Berlin Secession in 1916 and other events. They had mutual friends, such as the painter Felix Albrecht Harta. Both corresponded with Arnold Schönberg during the same period of time, both executed postcards for the Wiener Werkstätte and drafts for Stoclet Palace in Brussels. Both were presumably equally disappointed by Stoclet’s rejection of their designs.
- PublicationRestriction temporaireOskar Kokoschka, precursor de una Europa unificada(2023)En un volumen conmemorativo publicado en 1942 con motivo del tricentenario de la llegada de Comenio a Inglaterra, Kokoschka escribe: “La civilización industrial moderna exige que las personas de todas las naciones, pueblos y colores de piel aprendan a vivir y trabajar juntas, pues, de lo contrario, desaparecerán. Las fron teras de los países se han convertido en anomalías en una época en que un avión cruza el Atlántico entre la hora del desayuno y la de la cena”. Kokoschka vuelve aquí sobre las reflexiones desarro lladas por Richard N. Coudenhove-Kalergi en Pan-Europa: el “acercamiento temporal y espacial de los pueblos”, merced a los avances tecnoló gicos en el transporte, debe necesariamente ir seguido por el “acer camiento político”, ya que “la división de Europa en veintiocho sectores aduaneros clama al cielo cuando en el momento presente es fácil sobrevolar en un solo día una docena de estas fronteras y zonas aduaneras”. En Inglaterra, Kokoschka trabajó en una versión en inglés de una pieza teatral sobre Comenio que había empezado a escribir en Praga. En el texto, De Geert, discípulo de Comenio, expresando una visión esperanzada de medio de las desventuras de la Guerra de los Treinta Años, exclama: “A federal Europe will come into being!”. Kokoschka hacía patente así, en pleno bombardeo de Londres, su esperanza de una coexistencia pacífica entre las naciones europeas. El artista frecuentaba la compañía de británicos que hacían apasionada campaña por la adhesión de su país a la Comunidad Europea, como Edward Beddington-Behrens, su más fiel mece nas, que representó a Gran Bretaña en la Sociedad de las Naciones desde principios de los años veinte y que en 1954 fue nombrado presidente del Consejo Británico del Movimiento Europeo.
- PublicationRestriction temporaireOskar Kokoschka, précurseur d’une Europe unifiée(2022)Dans un ouvrage commémoratif paru en 1942 à l’occasion du tricentenaire de l’arrivée de Comenius en Angleterre, Kokoschka écrivait : « La civilisation industrielle moderne exige que les gens de toutes les nations, de tous les peuples et de toutes les couleurs de peau apprennent à vivre et à travailler ensemble, sous peine de disparaître. Les frontières des États sont devenues des anomalies à une époque où un avion traverse l’Atlantique entre le petit déjeuner et le dîner. » Kokoschka reprend ici des réflexions que Richard N. Coudenhove-Kalergi développe dans son texte ‘Paneuropa’, à savoir qu’au « rapprochement spatio-temporel » des peuples, dû aux progrès de la technique dans le domaine des transports, doit nécessairement succéder le « rapprochement politique » : « La division de l’Europe en 28 secteurs douaniers forme un contraste criant avec le fait qu’il est aujourd’hui facile de survoler en une seule journée une douzaine de ces frontières et zones douanières. » En Angleterre, Kokoschka travailla à une version anglaise d’une pièce de théâtre consacrée à Comenius, qu’il avait commencé à écrire à Prague. Dans ce texte, le disciple de Comenius qu’était De Geert s’exclame, exprimant ainsi une vision d’espoir au cœur des troubles de la guerre de Trente Ans : « A federal Europe will come into being ! » Kokoschka donne ainsi corps, pendant le bombardement de Londres, à son espoir d’une coexistence pacifique des nations européennes. En Angleterre, l’artiste fréquenta des Britanniques qui militaient avec passion pour l’adhésion de leur pays à la Communauté européenne ; c’était par exemple le cas de son plus fidèle mécène, Edward Beddington-Behrens, qui représenta dès le début des années 1920 la Grande-Bretagne à la Société des Nations et fut nommé en 1954 président du « Council of the European Movement » britannique.
- PublicationRestriction temporaireDer Künstler als "Augenöffner" : Comenius als pädagogische und autobiografische Identifikationsfigur(2021)As announced in the title, the newly tapped material has given rise to new insights into Kokoschka’s life and work. New perspectives are opened up by the interdisciplinary and transdisciplinary approaches, with research contributions from art and cultural history, from contemporary history, from literary studies and theater, and also from biographical research and gender studies. The gender discourses in Vienna after 1900 are known to have been shaped by friends and mentors of Kokoschka, such as Adolf Loos and Karl Kraus, and they undoubtedly had an impact on the young artist. However, as Katharina Prager explains in her essay in this volume, a differentiated, indeed ambivalent attitude on the gender issue gradually began forming among Kokoschka’s early companions. In any case, this issue remained virulent for Kokoschka until after World War I, as Bernadette Reinhold points out in her essay exploring the artist’s well-known doll fetish (1918/19). In recent decades, no other object has been given more attention in research, in contemporary art production, even in popular culture. No episode in his life has so many legends entwined around it—which the artist himself actively helped to promote. In her essay, Anna Stuhlpfarrer examines the legitimacy of Kokoschka’s reputation as a pioneer of Expressionist theater. This multimedia field of experimentation played a significant role in his life. Barbara Lesák explores the position Kokoschka carved out for himself in the history of Expressionist theater in Vienna and the unique contribution he made to the history of this medium. Kokoschka’s political engagement between 1934 and 1953 is the subject of three essays in this volume. In the first, Ines Rotermund Reynard concentrates on Kokoschka’s relationship with Paul Westheim, who fled from Germany to Paris in 1933, and on the role of Charlotte Weidler as a link between this eminent art critic and Kokoschka, a resident of Prague at the time. In the second, Lucy Wasensteiner explains Kokoschka’s involvement in Twentieth Century German Art, a 1938 exhibition in London originally planned as a protest against National Socialist art policies. In the third, Régine Bonnefoit documents how Kokoschka changed his image of Comenius according to his own stage of life and surrounding circumstances. The artist invoked this influential Moravian educator time and again to legitimize whatever cause or matter he was pursuing, be it pacifistic, political or humanitarian, art theoretical or autobiographical. In recent times, Kokoschka research has been stimulated by biographical research, which investigates autobiographical construction and the mechanisms for finding and determining one’s own identity as an artist. In this same vein, Birgit Kirchmayr examines Kokoschka’s “autobiographical life” in her essay entitled On the Legend of the Artist. Keith Holz analyzes the strategies the artist pursued from 1949 onward to market himself on the museum scene and in the art market in the United States. In her essay on the role of Japanese art in Kokoschka’s work, Aglaja Kempf delves into the aspect of intercultural exchange with non-European countries. Finally, Günter Berghaus turns to the South American continent in his study on the history of the reception of German Expressionism in Brazil, which is closely linked to the exile of Germanspeaking theater artists. The point of departure for his investigation is a production of Kokoschka’s drama Mörder, Hoffnung der Frauen (Murderer, Hope of Women) that he himself directed in Rio de Janeiro in 1997.