Fernand Khnopff and the Aesthetics of Intimacy

Moran, Claire

doi:10.1080/14787318.2019.1586171

Cited by 3 publications

(2 citation statements)

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“…This article focuses on Belgium as a country where the domestic context was a crucial site for artistic innovation and sociability (Brogniez 2018). Art Nouveau architecture flourished with the construction of private houses; avant-garde exhibitions were held in galleries that looked like private houses (Block 1991) and artists built or decorated their own homes (Draguet 2018;Moran 2018), to name but just a few examples. A broader analysis considering the role played by the domestic sphere in artistic creation and discourses on architecture and design has yet to be undertaken.…”

Section: Introductionmentioning

confidence: 99%

‘Les douceurs de l’intimité’: Men and the Making of Domesticity in Belgian Architecture Magazines (1890-1914)

Malevez

2021

Dix-Neuf

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This article uses intimacy and architecture as a way to tell the lesserknown story of men and the domestic in late nineteenth and early twentieth century Belgium. Drawing upon little-known interior design and architecture magazines, domestic manuals and photographs, I highlight how male architects and critics of architecture contributed to the making of domesticity. I show how 'intimacy' was used as a deceptive concept to frame the home as a restful refuge, as well as a catalyst for creative experimentation.

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Section: Introductionmentioning

confidence: 99%

‘Les douceurs de l’intimité’: Men and the Making of Domesticity in Belgian Architecture Magazines (1890-1914)

Malevez

2021

Dix-Neuf

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“…In her interpretation of Fernand Khnopff's Villa in 'Fernand Khnopff and the Aesthetics of Intimacy,' Claire Moran points out that, 'actively engaging the visitor in the spatial dynamics of the Villa, 'the effect of intimacy', rather than actual intimacy is created' (2019b). Rather than being about intimacy itself, Villa Khnopff is about 'the performance of intimacy', about its suggestion, and in this sense, initiating the viewer into 'an artistic philosophy of inwardness' (Moran 2019b). It is this process of revelation and suggestion, which in this context translates as a fusion between spectatorship and the 'animate' domestic object, so typical of the fin de siècle, which is at the heart of Khnopff's aesthetics.…”

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confidence: 99%