| 1. |
- Bruchmüller, Birte, 1989
(författare)
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Kvinnan och naturen i Tyra Kleens grafiska konst
- 2020
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Ingår i: Art nouveau. Från Larssons till Zappa. - Göteborg : Göteborgs konstmuseum. - 9789198460148 ; , s. 149-175
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Bokkapitel (övrigt vetenskapligt/konstnärligt)abstract
- I min katalogtext utforskar jag bildtypen kvinnan och växtvärlden i Tyra Kleens grafiska konst och sätter dessa kvinnorepresentationer i samband med det sena 1800-talets vetenskapliga, idéhistoriska och kulturella aspekter. Kleens förhållande till och användning av samtida manliga bildkonventioner som 'the modest maiden' och 'la femme fatale' så som hennes position som kvinnlig konstnär i en manligt dominerande konstvärld lyfts fram.
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| 2. |
- Bruchmüller, Birte, 1989
(författare)
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Nordic symbolist artists as ‘cosmopolites’ at the turn of the 20th century
- 2018
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Ingår i: NORDIK XII Copenhagen 25th - 27th October 2018, session: "Art and Design in Translation: The circulation of objects, people and approaches".
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Konferensbidrag (övrigt vetenskapligt/konstnärligt)abstract
- The phenomenon of the travelling artist who is exploring and producing art in a cross-national & -cultural context was a common notion among Scandinavian painters during the 19th century. At the same time, Scandinavian art objects from the end of the 19th century were and still are almost exclusively regarded as an expression of the National Romanticism. Although recent research contributions stress that the high number of Scandinavian artists who practised their art on the continent didn’t decrease around 1900, Nordic art history still pays most attention to art objects which were created in a national cultural context. Furthermore, there has been less written about some younger Nordic artists whose artistic approach became transnational, universal and ‘cosmopolitan’ after they left for Paris in the early 1890s. While the imagery of artists such as Magnus Enckell (1870-1925), Ellen Thesleff (1869-1954), Beda Stjernschantz (1867-1910), and Olof Sager-Nelson (1868-1896) still consisted of landscape compositions in the 1880s, their artistic approach underwent drastic changes concerning stylistic, thematic and art theoretical issues in Paris. Up from that moment, these artist’s main intention was to express a pure and idealistic form of art which functioned as a nation-unspecific concern. In the light of this, I aim to examine the shifting artistic approaches of a selected number of Scandinavian artists in Paris in the 1890s. By investigating a qualitative choice of Nordic painters who approached the idealistic and symbolistic art scene, I want to pay attention to unexplored cross-national patterns in Nordic art history around 1900. By locating the artworks in a European art historical context, I intend to probe the universal, transnational character of the symbolistic aesthetic movement.
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| 3. |
- Bruchmüller, Birte, 1989
(författare)
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Spiritual transcendence and androgyny within Swedish and Finnish transnational Symbolism
- 2022
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Doktorsavhandling (övrigt vetenskapligt/konstnärligt)abstract
- This Doctoral thesis is an examination of a group of Swedish and Finnish artists and their role as important and active participants in a transnational Symbolist movement. It deals with the depiction of the spiritually enhanced human body in the work of the Swedish artists Olof Sager-Nelson and Tyra Kleen, and the Finnish artists Magnus Enckell, Ellen Thesleff and Beda Stjernschantz, as one central topic within the European Symbolist art movement. During their different Parisian sojourns at the turn of the twentieth century, these artists came in contact with the Symbolist and occult Rose+Croix-order, its Salons de la Rose+Croix and its transnational and androgynous art programme, which revolved around the exploration of the human being’s immateriality and spirituality. This study makes an investigation of the interrelations between the art by these five artists and, primarily, the Parisian Salons de la Rose+Croix, but also their interrelationship with other sources for a transnational Symbolist visual language. Thematically structured into three analyses chapters on portraiture, classical Greco-Roman themes and scenes of interpersonal intimate encounters, this research considers how the total of the fifteen studied artworks can be understood not only thematically, but also theoretically, aesthetically, and stylistically as active contributions to the transnational Symbolist movement. It makes use of the theoretical frame of a horizontal European art history and conducts art historical hermeneutical analyses. The project examines how the selected artists positioned themselves towards the Symbolist conception of spiritual transcendence as something exclusively male-defined, which both comprised the neo-platonic and theosophical notion of a powerful androgynous mental state of the male and an androgynous, i.e. feminised, ‘fashioning’ of the male human body. Particular focus is laid on the performance of gender and sexuality within the selected works, as well as on the role of transgressions of gender binary norms. Thereby, this project sheds light on a relatively unexplored and important Symbolist strand in contrast to the dominating art historical accounts of Swedish and Finnish National Romanticist art as the Swedish and Finnish variety of Symbolism, and generates also important knowledge on the role of Swedish and Finnish Symbolist art within the overall European art history.
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| 4. |
- Bruchmüller, Birte, 1989
(författare)
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The Symbolist Conception of Illustration and Tyra Kleen’s "Nevermore"
- 2021
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Ingår i: The Edgar Allan Poe Review. - : The Pennsylvania State University Press. - 2150-0428 .- 2166-2932. ; 22:1, s. 188-195
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Tidskriftsartikel (refereegranskat)abstract
- This paper examines the Swedish graphic artist Tyra Kleen's lithograph "Nevermore", made at the turn of the 20th-century, and its interrelation of text and image. Rather than functioning as a mere appendage to Edgar Allan Poe's "The Raven" (1845), Kleen's "Nevermore" seems to destabilize the traditional function of an illustration, at the same time that new meaning is created through the interplay of the visual and textual features. By discussing text-image relationships on a formal and content-based level, this paper relates Kleen's work of art to the conception of 'symbolist illustrations' and their innovative and liberated coexistence of text and image.
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| 5. |
- Bruchmüller, Birte, 1989
(författare)
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Tyra Kleen and the Synthetic Inter-Mediality
- 2019
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Ingår i: Association for Art History's Annual Conference, Brighton, 4 - 6 April 2019, session: "The Non-Medium Specificity of 'Graphicality'".
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Konferensbidrag (övrigt vetenskapligt/konstnärligt)abstract
- ‘As music is the poetry of sound, so is painting the poetry of sight’. These words of James McNeill Whistler demonstrate a holistic and synergistic understanding of art forms, similar to the notion of the total work of art, which was highly prevalent in modernist European art scenes at the turn of the 20th century. Artistic phenomena, such as the French 19th-century illustrated novel, the revival of the bookcraft, and the pictorial rendering of literary sources, are some examples to be mentioned here that either combine different art media or connect media-specific elements to other conventionally distinct mediums. Edgar Allan Poe’s term ‘graphicality’ emanates from such an art medium transgression, fusion and combination. As a precursor of the modernist-symbolist movement, he had a great impact on the development of Charles Baudelaire’s aesthetic programme and his writing was, beside Baudelaire’s, a crucial literary point of origin for some cosmopolitan Nordic authors and visual artists, including the Swedish symbolist painter, graphic artist and novelist Tyra Kleen (1874-1951). Trained in Germany and Paris during the 1890s, and based in Rome between 1898 and 1908, Kleen developed a great interest for a symbolist, occult, and mystical understanding of art, while she, at the same time, remained independent from any constitutional symbolist movement or group. Both (decadent and symbolist) literary subjects matter and mythologic imageries dominated her art production at the turn of the 20th century. This paper focuses on media combinations - produced by Tyra Kleen at the turn of the 20th century - that all in their own way seem to destabilize the traditional function of an illustration, supposed to support or elucidate a literary text as a mere appendage. Tyra Kleen’s lithographs “Sed Non Satiati”, 1902, “Nevermore”, undated, as well as her lithograph “La Peur”, 1901, appear to be no pure pictorial supplementation of the literary source or sources referred to, instead, they seem to operate according to different dynamics. By exploring the three selected graphic artworks by Tyra Kleen, I aim to examine the hierarchy between visual and textual features as well as to examine the extent to which each of them can be understood as a synthetic inter-medial art object, namely as an art product which conforms to a fusion of several distinct media into a single ‘new medium’. Moreover, this paper is generally concerned with outlining ‘symbolist illustrations’ and their potential of destabilizing traditional text-image-relations by comprising a coexistence of verbal and visual elements in a highly innovative and liberated way.
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| 6. |
- Bruchmüller, Birte, 1989
(författare)
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Tyra Kleen och framställningen av människokroppen
- 2018
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Ingår i: "Måste jag skrika för att höras? Symposium om Tyra Kleen – ett återupptäckt konstnärskap”. Thielska Galleriet, 7 september 2018..
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Konferensbidrag (övrigt vetenskapligt/konstnärligt)abstract
- Nordisk sekelskifteskonst omkring 1900 förknippades och förknippas fortfarande idag framförallt med nationalromantiken och landskapsmåleriet. Till skillnad från denna dominerande kulturpatriotiska konst som med hjälp av nordiska stämningslandskap eller människotomt landskapsmåleri ville ge uttryck åt det nationella, fanns det ett antal nordiska konstnärer från den yngre konstnärsgenerationen som däremot intog en nästintill motsatt position. Medan konstnärer som Tyra Kleen (1874 – 1951), Olof Sager-Nelson (1868 – 1896), Magnus Enckell (1870 – 1925), Beda Stjernschantz (1867 – 1910) eller Ellen Thesleff (1869 – 1954) var verksamma på kontinenten omkring sekelskiftet 1900 utgick de ifrån ett transnationellt och kosmopolitiskt estetiskt tänkande som medvetet tog avstånd från en konstutövning som ville uttrycka en nationell tillhörighet. Istället för landskapsmåleri utmärkte sig deras heterogena produktion av antika, bibliska, litterära motiv eller porträttkonst där framställningen av den idealiserade människokroppen och att måla efter levande modell spelade en dominerande roll. Mot bakgrund av detta verkar dessa konstnärer ha utgjort en parallell gruppering i Nordens tidiga modernism som hittills fått litet utrymme i den nordiska konsthistorien. Med utgångspunkt i framställningen av den idealiserade människokroppen, såväl i porträttmåleriet som i mytologiska eller religiösa motiv, sätter jag ett antal konstverk av Tyra Kleen och några ytterligare kosmopolitiska nordiska konstnärer i sammanhang med den tidiga kontinentala modernismen och symbolismens skönhetsideal. Genom att belysa symbolismens ikonografiska, filosofiska och stilistiska ideal, avser jag att visa att det finns goda skäl att anta att såväl Tyra Kleen som konstnärer som Magnus Enckell eller Beda Stjernschantz stod den kontinentala symbolistiska, ideella, mystiska rörelsen mycket nära. Elementära drag inom symbolismen som androgynidealet och den klassiska konstens ideal anammades och omsattes t.ex. av Kleen, Enckell och Stjernschantz och nyplatonska idéer om den själsliga, andliga kärleken och om ett förhistoriskt, harmoniskt, absolut mänskligt tillstånd präglade deras estetiska tänkande och konstproduktion.
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