Jan Toorop

Résumé du document

The works of Jan Toorop, in the context of the Dutch art and its interpretations, is the central theme of this document. The scope of his work ranges from the 17th century to the early 20th century. The decision to retain Jan Toorop as the central theme of the assignment is attributable to two motives that are respectively of a subjective and of an objective order. As a matter of fact, the first selection criterion refers to my personal artistic preferences, whereas the second one is related to the expectations and the requirements of the course. Firstly, I have a predilection for Symbolism and Art Nouveau, which has inclined me to consider the option of adopting an artist who has taken part in one or both of these directions. My previous research work was effectuated within the framework of another class on Fernand Khnopff and on Gustav Klimt and these have lead me to look into Jan Toorop's art. His biography reveals an astonishing personality, the natural affability of whom is praised by all his contemporaries. Secondly, I have the conviction that the focus on Jan Toorop allows involving a number of theoretical questions that have been raised in class. Indeed, the stead that he occupies in Art History is ambiguous in as much as he figures at the intersection between the two previously mentioned movements. The survey of his work sheds light on the distinctions that exist between Symbolism and Art Nouveau. His career is enrooted in the context of an international artist and he actively takes part in his chosen way of life. This topic also permits to expand the horizon of the class program by offering a panorama of the forefront cultural scene of 19th century Europe.

Extraits

[...] the externalisation of the Idea) instead of objectifying the subjective. In practice, it is the conclusion of the Classical concept of μιμεσις since the representation of the personal state of mind implies the use of the symbol: Le symbole est un signe figuratif qui exprime une notion abstraite se soustrayant à toute tentative de perception sensorielle. Contrairement aux figures de rhétoriques telles l'allégorie, la métaphore ou la métonymie, il n'y a pas nécessairement dans le symbole un lien conceptuel entre la représentation et l'objet. [...]

[...] He frequents together with his friend the Royal Academy in Brussels from October 1883. He does not manifest a great interest to his study as it is reported in De Nieuwe Rotterdamsche Courant dating from November 1911: Je dois reconnaître que je n'ai pas beaucoup profité des leçons dispensées à l'université d'art de Bruxelles: Après le zèle des premiers mois, je n'y allais pour autant dire presque plus jamais. Even if his art production within the framework of the Royal Academy in Brussels is deprived of any trace of originality, it reveals his precocious talent in drawing & in painting. [...]

[...] The first one is the path of meditation so as to attain a corporeal transcendence. The second one is the path of achievement through eroticism. The latter is associated with the goddess Kali who is usually recognisable from her necklace of skulls, like the one in this drawing. Tantrism does not voice a moral judgment towards each way: It contents itself with putting into relief the bipolarity of the energies to which mankind is faced. In comparison with The Bride (1893) by the Dutch Symbolist Thorn-Prikker (1868-1932), in which there is a profusion of Judeo- Christian references, The Three Brides is related to a much more Oriental religious ecstasy. [...]

[...] The first cause is to be connected with the eclecticism proper to his iconography & his style. In as much it is quite impossible to strictly identify his work as a whole with any artistic current in particular, his complex evolution constitutes the principal obstacle to the scientific research: Bien qu'il existe des orientations successives de Jan Toorop correspondant par phases à des schèmes de catégorisation de l'histoire de l'art, la totalité de son œuvre à géométrie variable est en définitive inclassifiable en tant que telle. [...]

[...] Its organ of press is L'Art Moderne initiated in 1881 that is related to L'Art Libre published since 1871. Out of the decade of existence of Jan Toorop is one of the four members of the group who do not have the Belgian citizenship. This is the motive of the opposition of Fernand Khnopff & Theo van Rysselberghe to his election as well as of the abstention from James Ensor at the vote. His admittance produces on his trajectory two effects in appearance somewhat paradoxical. Foremost, it enables him to canalise the various influences of the European art. [...]