Fernand Khnopff (1858-1921) : art and photography in the nineteenth century

Abstract

This thesis focuses on the works of a key figure of Belgian Symbolism and the European fin-­de-­siècle scene – the artist Fernand Khnopff (1858 – 1921) – in order to explore the interactions between fine art and photography in the second half of the long nineteenth century, when the latter was still striving to take its place in the pantheon of arts. The project examines the various ways in which the painter, who also worked as a sculptor, a designer, an illustrator and a journalist, interacted with and employed the photographic medium at different stages of his creative process to explore his creative methods, artistic identity and vision.

Khnopff’s use of photography highlighted, reflected on and contributed to the exploration of certain subjects and issues that defined European culture in the late nineteenth – early twentieth centuries in general as well as the artist’s œuvre in particular. These include the representations of the city of Bruges and its symbolic meaning in fin-­de-­siècle literature and visual tradition, the documentation of, and reaction to, Belgian colonialism in the Congo Free State as well as the representation of the colony in the colonising metropolis, and the employment of photographs as a substitute for a preparatory sketch or study at preliminary stage. Another issue addressed is the replication of Khnopff’s paintings, drawings and sculpture in a photographic form and the changed accessibility and availability of his art as well as the rich meanings and connotations that arise from the complex relationship between the originals and their reproductions. The photographic recording of the now demolished Villa Khnopff are considered to demonstrate the evolving view of an artist and the growing importance of constructing and conveying his personality so as to influence the public promotion and perception of himself and his œuvre. The thesis also investigates the creative opportunities of collaborations between artists and photographers in the late nineteenth century through the example of Khnopff’s close work with professional photographer Alexandre (Albert-­Edouard Drains) (1855 – 1925).