Fernand Khnopff, Table Of Contents: Portrait Of Jeanne Kéfer Portrait Of Jeanne Kéfer, Table Of Contents

The Belgian artist, illustrator, sculptor, and photographer Fernand Khnopff (1858–1921) became a popular society portraitist in the 1880s, using elements that had served him well as an avant-garde Symbolist painter: visual realism and a mood of silence, isolation, and reverie As in the provocative, yet hauntingly beautiful, Portrait of Jeanne Kéfer that is the focus of this book, he frequently posed his models leaning against a closed door, flattening the space and resulting in a meditative, hermetically sealed image. Jeanne Kéfer was the daughter of a composer-friend of the artist, and Khnopff deftly captures the child’s vulnerability to the outside world in the small gesture of her tiny thumb catching the edge of her bow. The book places this painting in the historical context of Khnopff’s times and social milieu and traces the advent of Symbolism as a literary and artistic movement. An analysis of the portrait itself is supported by a stunning array of related paintings, details, and technical photographs. Finally, the author uses Khnopff’s portraits as a taking-off point for a broader discussion of Symbolist art. Fernand Khnopff: Portrait of Jeanne Kéfer is part of the Getty Museum Studies on Art series, which is designed to introduce individual artworks or small groups of related works to a broad public with an interest in the history of art. Each monograph is written by a leading scholar and features a close discussion of its subject as well as a detailed analysis of the broader historical and cultural context in which the work was created. Table of Contents A Little Girl at the Center of the Avant-Garde Producing a Portrait The Portrait in Perspective Notes Acknowledgments About the Author Michel Draguet is a professor of modern and contemporary art and director of the center for research on René Magritte at the Free University of Brussels. He is a widely published author, most recently of the important monograph James Ensor (1999) and Treasures of Art Nouveau: Through the Collections of Anne-Marie Gilbert (1999). The Belgian Artist, Illustrator, Sculptor, And Photographer Fernand Khnopff (1858-1921) Became A Popular Society Portraitist In The 1880s, Using Elements That Had Served Him Well As An Avant-garde Symbolist Painter: Visual Realism And A Mood Of Silence, Isolation, And Reverie. As In The Provocative, Yet Hauntingly Beautiful, Portrait Of Jeanne Kefer That Is The Focus Of This Book, He Frequently Posed His Models Leaning Against A Closed Door, Flattening The Space And Resulting In A Meditative, Hermetically Sealed Image. Jeanne Kefer Was The Daughter Of A Composer-friend Of The Artist, And Khnopff Captures The Child's Vulnerability To The Outside World In A Small Gesture Of Her Tiny Thumb Catching The Edge Of Her Bow. The Book Places This Painting In The Historical Context Of Khnopff's Times And Social Milieu And Traces The Advent Of Symbolism As A Literary And Artistic Movement. An Analysis Of The Portrait Itself Is Supported By An Array Of Related Paintings, Details, And Technical Photographs. Finally, The Author Uses Khnopff's Portraits As A Taking-off Point For A Broader Discussion Of Symbolist Art.--book Jacket. A Little Girl At The Center Of The Avant-garde 1 -- Producing A Portrait 23 -- The Portrait In Perspective 81. Michel Draguet. Includes Bibliographical References. The Belgian artist, illustrator, sculptor, and photographer Fernand Khnopff (1858-1921) became a popular society portraitist in the 1880s, using elements that had served him well as an avant-garde symbolist painter: visual realism and a mood of silence, isolation, and reverie. As in the provocative yet hauntingly beautiful Portrait of Jeanne Kfer, which is the focus of this book, he frequently posed his models leaning against a closed door, flattening the space and resulting in a meditative, hermetically sealed image. Jeanne Kfer was the daughter of a composer friend of the artist, and Khnopff deftly captured the child's vulnerability to the outside world in the small gesture of her tiny thumb catching the edge of her bow. The book places this painting in the historical context of Khnopff's times and social milieu, such as the advent of symbolism as a literary and artistic movement and the influence of James McNeill Whistler. The analysis of the portrait is supported by a stunning array of related paintings, details, and technical photographs. Finally, the author uses Khnopff's portraits as a springboard for a broader discussion of symbolist art.