Rudolf Jettmar is one of those turn-of-the-century Austrian artists who need to be rediscovered. He belongs to the generation of Edvard Munch, Franz von Stuck, Henry van der Velde and Henri de Toulouse-Lautrec. His work thus falls into a period in which painting in Impressionism, Symbolism and Expressionism is breaking new ground. As a member of the Vienna Secession, home of the avant-garde of the Austrian art scene at the time, Jettmar moves in the epicenter of Art Nouveau. He also celebrated great success with his illustrations – woodcuts, drawings and etchings, techniques that he knows how to apply with great skill – for VER SACRUM, published by the Secession from 1898 to 1903. Stylistically, the artist can best be attributed to Late Symbolism. Parallels can be found with the classicism of a Jean-Auguste-Dominique Ingres, whose depictions of women with their smooth, crystalline flesh and flesh influenced him, and with Anselm Feuerbach, as well as with the most famous representatives of symbolism, Max Klinger and Arnold Böcklin.
The “Badenden” were created in 1909, one year before Rudolf Jettmar was appointed professor at the Academy of Fine Arts in Vienna. Mythological and biblical themes such as “Faun and Nymph” or “Susanna in the Bath” serve as the starting point for the composition. He places the female figures, which he takes from this rich canon of figures, in the midst of an atmospheric nature. The arrangement plays a major role, in which the musicianship of the artist and his sense of rhythm come into play. He places the legs and the stretched-up right arm of the reclining woman parallel to each other and also parallel to the bridge railing in the background, while the standing woman on the left finds analogies in the tree trunks by the pond. The lying beguiles us with her charms, stretched out on a red cloth, from which her light-colored body stands out vividly. While she does not establish a relationship with the viewer or her companion, despite being so close to the front edge of the picture, the standing girl is drawn into the picture through intense eye contact. Both figures appear placed in the foreground of the picture like actresses on an evenly lit stage, the mystical natural landscape behind them like a backdrop. The picture is a beautiful example of Rudolf Jettmar's painting, which depicts an "unnameable state of mind and soul outside of reality" (Hans H. Hofstaetter, Rudolf Jettmar, Vienna 1984, p. 12).
(Sophie Cieslar)
Rudolf Jettmar is one of those turn-of-the-century Austrian artists who need to be rediscovered. He belongs to the generation of Edvard Munch, Franz von Stuck, Henry van der Velde and Henri de Toulouse-Lautrec. His work thus falls into a period in which painting in Impressionism, Symbolism and Expressionism is breaking new ground. As a member of the Vienna Secession, home of the avant-garde of the Austrian art scene at the time, Jettmar moves in the epicenter of Art Nouveau. He also celebrated great success with his illustrations – woodcuts, drawings and etchings, techniques that he knows how to apply with great skill – for VER SACRUM, published by the Secession from 1898 to 1903. Stylistically, the artist can best be attributed to Late Symbolism. Parallels can be found with the classicism of a Jean-Auguste-Dominique Ingres, whose depictions of women with their smooth, crystalline flesh and flesh influenced him, and with Anselm Feuerbach, as well as with the most famous representatives of symbolism, Max Klinger and Arnold Böcklin.
The “Badenden” were created in 1909, one year before Rudolf Jettmar was appointed professor at the Academy of Fine Arts in Vienna. Mythological and biblical themes such as “Faun and Nymph” or “Susanna in the Bath” serve as the starting point for the composition. He places the female figures, which he takes from this rich canon of figures, in the midst of an atmospheric nature. The arrangement plays a major role, in which the musicianship of the artist and his sense of rhythm come into play. He places the legs and the stretched-up right arm of the reclining woman parallel to each other and also parallel to the bridge railing in the background, while the standing woman on the left finds analogies in the tree trunks by the pond. The lying beguiles us with her charms, stretched out on a red cloth, from which her light-colored body stands out vividly. While she does not establish a relationship with the viewer or her companion, despite being so close to the front edge of the picture, the standing girl is drawn into the picture through intense eye contact. Both figures appear placed in the foreground of the picture like actresses on an evenly lit stage, the mystical natural landscape behind them like a backdrop. The picture is a beautiful example of Rudolf Jettmar's painting, which depicts an "unnameable state of mind and soul outside of reality" (Hans H. Hofstaetter, Rudolf Jettmar, Vienna 1984, p. 12).
(Sophie Cieslar)
Rudolf Jettmar is one of those turn-of-the-century Austrian artists who need to be rediscovered. He belongs to the generation of Edvard Munch, Franz von Stuck, Henry van der Velde and Henri de Toulouse-Lautrec. His work thus falls into a period in which painting in Impressionism, Symbolism and Expressionism is breaking new ground. As a member of the Vienna Secession, home of the avant-garde of the Austrian art scene at the time, Jettmar moves in the epicenter of Art Nouveau. He also celebrated great success with his illustrations – woodcuts, drawings and etchings, techniques that he knows how to apply with great skill – for VER SACRUM, published by the Secession from 1898 to 1903. Stylistically, the artist can best be attributed to Late Symbolism. Parallels can be found with the classicism of a Jean-Auguste-Dominique Ingres, whose depictions of women with their smooth, crystalline flesh and flesh influenced him, and with Anselm Feuerbach, as well as with the most famous representatives of symbolism, Max Klinger and Arnold Böcklin.
The “Badenden” were created in 1909, one year before Rudolf Jettmar was appointed professor at the Academy of Fine Arts in Vienna. Mythological and biblical themes such as “Faun and Nymph” or “Susanna in the Bath” serve as the starting point for the composition. He places the female figures, which he takes from this rich canon of figures, in the midst of an atmospheric nature. The arrangement plays a major role, in which the musicianship of the artist and his sense of rhythm come into play. He places the legs and the stretched-up right arm of the reclining woman parallel to each other and also parallel to the bridge railing in the background, while the standing woman on the left finds analogies in the tree trunks by the pond. The lying beguiles us with her charms, stretched out on a red cloth, from which her light-colored body stands out vividly. While she does not establish a relationship with the viewer or her companion, despite being so close to the front edge of the picture, the standing girl is drawn into the picture through intense eye contact. Both figures appear placed in the foreground of the picture like actresses on an evenly lit stage, the mystical natural landscape behind them like a backdrop. The picture is a beautiful example of Rudolf Jettmar's painting, which depicts an "unnameable state of mind and soul outside of reality" (Hans H. Hofstaetter, Rudolf Jettmar, Vienna 1984, p. 12).
(Sophie Cieslar)
"Rudolf Jettmar is one of those turn-of-the-century Austrian
artists who need to be rediscovered. He belongs to the generation of Edvard
Munch, Franz von Stuck, Henry van der Velde, and Henri de Toulouse-Lautrec. His
work thus falls into a period in which painting in Impressionism, Symbolism and
Expressionism is breaking new ground. As a member of the Vienna Secession, home
of the avant-garde of the Austrian art scene at the time, Jettmar moves in the
epicenter of Art Nouveau. He also celebrated great success with his
illustrations – woodcuts, drawings and etchings, techniques that he knows how
to apply with great skill – for VER SACRUM, published by the Secession from
1898 to 1903. Stylistically, the artist can best be attributed to Late
Symbolism. Parallels can be found with the classicism of Jean-Auguste-Dominique Ingres, whose depictions of women with their smooth,
crystalline flesh and flesh influenced him, and with Anselm Feuerbach, as well
as with the most famous representatives of symbolism, Max Klinger and Arnold
Böcklin." (Sophie Cieslar, 2023)
"The 'Badenden' were created in 1909, one year before Rudolf
Jettmar was appointed professor at the Academy of Fine Arts in Vienna.
Mythological and biblical themes such as 'Faun and Nymph' or 'Susanna in the
Bath' serve as the starting point for the composition. He places the female
figures, which he takes from this rich canon of figures, in the midst of atmospheric nature. The arrangement plays a major role, in which the
musicianship of the artist and his sense of rhythm come into play. He places
the legs and the stretched-up right arm of the reclining woman parallel to each
other and also parallel to the bridge railing in the background, while the
standing woman on the left finds analogies in the tree trunks by the pond. The
lying woman beguiles us with her charms, stretched out on a red cloth, from which her
light-colored body stands out vividly. While she does not establish a
relationship with the viewer or her companion, despite being so close to the
front edge of the picture, the standing girl is drawn into the picture through
intense eye contact. Both figures appear placed in the foreground of the
picture like actresses on an evenly lit stage, the mystical natural landscape
behind them like a backdrop. The picture is a beautiful example of Rudolf
Jettmar's painting, which depicts an 'unnameable state of mind and soul
outside of reality' (Hans H. Hofstaetter, Rudolf Jettmar, Vienna 1984, p.
12)." (Sophie Cieslar, 2023)
Rudolf Jettmar gehört zu jenen österreichischen Künstlern der Jahrhundertwende, die es neu zu entdecken gilt. Er zählt zur Generation von Edvard Munch, Franz von Stuck, Henry van der Velde und Henri de Toulouse-Lautrec. Sein Schaffen fällt also in eine Zeit, in der die Malerei im Impressionismus, Symbolismus und Expressionismus neuartige Wege beschreitet. Als Mitglied der Wiener Secession, Heimstatt der damaligen Avantgarde der österreichischen Kunstszene, bewegt sich Jettmar im Epizentrum des Jugendstils. Große Erfolge feiert er auch mit seinen Illustrationen – Holzschnitte, Zeichnungen und Radierungen, Techniken, die er mit großer Kunstfertigkeit auszuüben versteht – für das von 1898 bis 1903 von der Secession herausgegebene VER SACRUM. Stilistisch lässt sich der Künstler am ehesten dem Spät-Symbolismus zurechnen. Parallelen finden sich zum Klassizismus eines Jean-Auguste-Dominique Ingres, dessen Frauendarstellungen mit ihrem glatten, kristallinen Inkarnat ihn beeinflussen, und eines Anselm Feuerbach sowie zu den berühmtesten Vertretern des Symbolismus, Max Klinger und Arnold Böcklin.
Die „Badenden“ sind 1909, ein Jahr vor Rudolf Jettmars Berufung als Professor an die Akademie der bildenden Künste in Wien, entstanden. Als Ausgangspunkt der Komposition dienen mythologische und biblische Thematiken wie „Faun und Nymphe“ oder „Susanna im Bade“. Die Frauenfiguren, die er diesem reichen Figurenkanon entnimmt, setzt er mitten in eine stimmungsgeladene Natur. Dabei spielt die Anordnung eine große Rolle, in der die Musikalität des Künstlers und sein Gefühl für Rhythmus zum Tragen kommen. So lagert er die Beine und den hochgestreckten rechten Arm der liegenden Frau parallel zueinander und auch parallel zum Brückengeländer im Hintergrund, während die Stehende links Analogien in den Baumstämmen am Weiher findet. Die Liegende betört uns mit ihren Reizen, hingestreckt auf einem roten Tuch, von dem sich ihr heller Körper plastisch abhebt. Während diese, trotzdem sie so nahe an den vorderen Bildrand gerückt ist, keine Beziehung zum Betrachter oder zu ihrer Begleiterin aufbaut, zieht das stehende Mädchen durch intensiven Blickkontakt in das Bildgeschehen hinein. Beide Figuren wirken in die vorderste Bildebene gesetzt wie Schauspielerinnen auf einer gleichmäßig ausgeleuchteten Bühne, die mystische Naturlandschaft dahinter wie eine Kulisse. Das Bild ist ein schönes Beispiel für Rudolf Jettmars Malerei, die einen „unbenennbar bleibenden Gemüts- und Seelenzustand außerhalb der Wirklichkeit“ (Hans H. Hofstaetter, Rudolf Jettmar, Wien 1984, S. 12) abbildet.
(Sophie Cieslar)
"Rudolf Jettmar gehört zu jenen österreichischen Künstlern
der Jahrhundertwende, die es neu zu entdecken gilt. Er zählt zur Generation von
Edvard Munch, Franz von Stuck, Henry van der Velde und Henri de
Toulouse-Lautrec. Sein Schaffen fällt also in eine Zeit, in der die Malerei im
Impressionismus, Symbolismus und Expressionismus neuartige Wege beschreitet.
Als Mitglied der Wiener Secession, Heimstatt der damaligen Avantgarde der
österreichischen Kunstszene, bewegt sich Jettmar im Epizentrum des Jugendstils.
Große Erfolge feiert er auch mit seinen Illustrationen – Holzschnitte,
Zeichnungen und Radierungen, Techniken, die er mit großer Kunstfertigkeit
auszuüben versteht – für das von 1898 bis 1903 von der Secession herausgegebene
VER SACRUM. Stilistisch lässt sich der Künstler am ehesten dem Spät-Symbolismus
zurechnen. Parallelen finden sich zum Klassizismus eines Jean-Auguste-Dominique
Ingres, dessen Frauendarstellungen mit ihrem glatten, kristallinen Inkarnat ihn
beeinflussen, und eines Anselm Feuerbach sowie zu den berühmtesten Vertretern
des Symbolismus, Max Klinger und Arnold Böcklin." (Sophie Cieslar, 2023)
"Die 'Badenden' sind 1909, ein Jahr vor Rudolf Jettmars
Berufung als Professor an die Akademie der bildenden Künste in Wien,
entstanden. Als Ausgangspunkt der Komposition dienen mythologische und
biblische Thematiken wie 'Faun und Nymphe' oder 'Susanna im Bade.' Die Frauenfiguren,
die er diesem reichen Figurenkanon entnimmt, setzt er mitten in eine
stimmungsgeladene Natur. Dabei spielt die Anordnung eine große Rolle, in der
die Musikalität des Künstlers und sein Gefühl für Rhythmus zum Tragen kommen.
So lagert er die Beine und den hochgestreckten rechten Arm der liegenden Frau
parallel zueinander und auch parallel zum Brückengeländer im Hintergrund,
während die Stehende links Analogien in den Baumstämmen am Weiher findet. Die
Liegende betört uns mit ihren Reizen, hingestreckt auf einem roten Tuch, von
dem sich ihr heller Körper plastisch abhebt. Während diese, trotzdem sie so
nahe an den vorderen Bildrand gerückt ist, keine Beziehung zum Betrachter oder
zu ihrer Begleiterin aufbaut, zieht das stehende Mädchen durch intensiven Blickkontakt
in das Bildgeschehen hinein. Beide Figuren wirken in die vorderste Bildebene
gesetzt wie Schauspielerinnen auf einer gleichmäßig ausgeleuchteten Bühne, die
mystische Naturlandschaft dahinter wie eine Kulisse. Das Bild ist ein schönes
Beispiel für Rudolf Jettmars Malerei, die einen 'unbenennbar bleibenden Gemüts-
und Seelenzustand außerhalb der Wirklichkeit' (Hans H. Hofstaetter, Rudolf
Jettmar, Wien 1984, S. 12) abbildet." (Sophie Cieslar, 2023)
