FERNAND KHNOPFF (Belgian, 1858-1921)

Details

FERNAND KHNOPFF (Belgian, 1858-1921)
Portrait of Marguerite, the Sister of the Artist
signed FERNAND KHNOPFF upper left--oil on canvas laid down on panel 38¼ x 29¾in. (97.2 x 75.5cm.)

Literature

(For reference to the painting andør Marguerite)
M.W., "Le Salon des XX", Le Soir Bruxelles, Feb. 6, 1888
E.W., "L'Exposition des XX", Le Précurseau, Anvers, Feb. 15, 1888
X., "Le Salon des XX", L'Indépendance, Bruxelles, Feb. 18, 1888
A. Ch., "Aux XX", La Réforme, Bruxelles, Feb. 28, 1888
E. Verhaeren, "Chronique bruxelloise. L'Exposition des XX à Bruxelles", La Revue Indépendante, Paris, March, 1888, p. 459, no. 17
E. Demolder, "Chronique artistique", La Société Nouvelle, Bruxelles-Paris-Amsterdam-Genève, 1888, vol. I, p. 187
G. Verdavainne, "L'Expostion des Portraits du Siècle", La Fédération Artistique, Bruxelles, Mar. 30, 1890, p. 272, no. 23
W. Shaw-Sparrow, "Fernand Khnopff", The Magazine of Art, London, Dec. 1890, (illustrated, p. 39)
E.L. de Taeye, "Les Artistes belges contemporains. Leurs Vies, leurs Oeuvres, leur Place dans l'Art, Brussels, 1894, p. 749
H.G. Sarfatti, "Profili d'Artisti. Fernand Khnopff", Il Rinascimento, Milan, April 1906, p. 64
L. Dumont-Wilden, Fernand Khnopff, Brussels, 1907, pp. 22, 70
L. Tombu, Peintres et Sculpteurs belges à l'Aube du XXe Siècle, Liège, 1907, p. 93
Académie de Belgique, "Fernand Khnopff", Notices Biographiques et Bibliographiques concernant les Membres, les Correspondants et les Associés. 1907-1909, Brussels, 1909, p. 752
M. Biermé, Les Artistes de la Pensée et du Sentiment, Brussels, 1911, p. 2
H. Laillet, "The Home of an Artist: M. Fernand Khnopff's Villa at Brussels", The Studio, London, Dec. 1912, vol. LXII, p. 206,
no. 237
P. Lambotte, Les Peintres de Portraits, Brussels, Paris, 1913, p. 125
G. Verdavainne, "Fernand Khnopff", Le Home, Brussels, Jan. 31, 1913, no. 1
J. Delville, "Notice sur Fernand Khnopff", Annuaire de l'Académie Royale des Sciences, des Lettres et des Beaux-Arts de Belgique, Brussels, 1925, p. 23
G. Deltour, "Fernand Khnopff", La Belgique d'Aujourd'hui, Berlin-Charlottenburg, n.d.
V. d'Indy, "Lettre à Octave Maus, Paris, le 16 janvier 1888,
M.O. Maus, Trente Années de Lutte pour l'Art. 1884-1914, Brussels, 1926, p. 79
L'Eventail--Le Portrait de la Femme, 1830-1930, Brussels, Dec. 25, 1931 (special ed. Noël, 1931), p. 22 (illustrated)
E. Eemans, Fernand Khnopff, Anvers, 1950 (illustrated on jacket)
F.C. Legrand, "Fernand Khnopff--Perfect Symbolist", Apollo, April, 1967, no. 62, pp. 282-283 (illustrated)
L. Carluccio, "Introduction", Fernand Khnopff (exh. cat.), Milan, 1970
F.C. Legrand, Le Symbolisme en Belgique, Brussels, 1971, pp. 70, 99 (illustrated, p. 58, pl. XXXII)
F.C. Legrand, "Avant-dire: la Marée symboliste", Peintres de l'Imaginaire. Symbolistes et Surréalistes belges (exh. cat.), Paris, 1972, p. 16
J. Clay, De l'Impressionnisme à l'Art Moderne, Paris, 1975, pp. 79-81 (illustrated)
M. Laclotte, Le Larousse des grandes Peintres, Paris, 1976, p. 193 L.V. Masini, Art Nouveau, Florence, 1976 (illustrated in color p. 129, fig. 345)
J. Pierre, Le Symbolisme, Paris, 1976 (illustrated in color
pl. 32)
C. Sala, "Fernand Khnopff", Actualité des Arts Plastiques Paris, May-June 1976, no. 31, pp. 40-41, no. 12
W.R. Olander, "Fenand Khnopff's 'Art or The Caresses'", Arts Magazine, New York, June 1977, pp. 116-117 (illustrated fig. 4)
R. Goldwater, Symbolism, London, 1979, pp. 39, 207 (illustrated p. 208, no. 152)
L. Sanchez, "Chez Khnopff l'enigmatique, ma visite imaginaire", Le Figaro Magazine, Paris, Oct. 6, 1979, p. 118 (illustrated in color)
P. Cabanne, "Khnopff au Musée des Arts décoratifs", Le Matin, Paris, Oct. 15, 1979
A. Fermigier, "Fernand Khnopff au Musée des Arts décoratifs. Le dernier des dandys", Le Monde, Paris, Oct. 18, 1979, p. 20
F. Boenders, "De Maskers van Fernand Khnopff,- Men heeft niets dan zich zelf", Vrij Nederland, Amsterdam, Oct. 20, 1979, p. 69 (illustrated p. 67, no. 3)
G. Marmori, "Mia sorella, mia sposa, mia modella", Espresso, Rome, Oct. 28, 1979
A.J. Coignard, "Khnopff et son modèle", Cinématograph, Paris, Nov. 1979, p. 38
G. Repaci-Courtois, "Parigi riapre il caso Khnopff. Mezzo prete, mezzo dandy", Bollafiarte, Turin, Nov. 1979, p. 19 (illustrated)
G. Metken, "Im Elfenbeinturm Schumann hörend", Die Zeit, Hambourg, Nov. 2, 1979 (illustrated)
J.J. Lerrant, "Au Musée des Arts decoratifs à Paris, Fernand Khnopff (1858-1921): l'énigme du silence", La Progrès, Lyon, Nov. 4, 1979
Ph. Dejean, "Fernand Khnopff: la mort, si belle...", La Republique
du Centre, Saran, Nov. 9, 1979 (illustrated)
F. Minervino, "Il Pittore belga al 'Museo des Arts Décoratifs' di Parigi. Morbidi silenzi di Khnopff", Carriere della Sera, Milan, Nov. 11, 1979 (illustrated)
S. Furlotti-Reberschak, "Fernand Khnopff, una 'chiave' del simbolismo. Un solo amore, quello di Narciso...", Gazzetta del Popolo, Turin, Nov. 21, 1979, p. 18
A. Parinaud, "Connaissez-vous Khnopff?", Tonus, Paris, Nov. 23, 1979 (illustrated p. 65)
A. Zarate, "Fernand Khnopff, entre les caresses...et les griffes", L'Aurore, Paris, Nov. 28, 1979
J.M. Campagne, "Khnopff l'étrange", Le collectionneur français, Paris, Dec. 1979
R. Deroudille, "Secret et fascinant Khnopff", Le Dauphiné Libéré, Grenoble, Dec. 2, 1979
G. Metken, "Fernand Khnopff et la Modernité", Fernand Khnopff (exh. cat.), Paris-Brussels, 1979-1980, pp. 41, 43
M.A.S., "Fernand Khnopff", Post-Impressionism (exh. cat.), London, 1979-1980, p. 267, no. 402
G. Metken, "Khnopffs Modernität", "Im Lebenstraum gefangen", Fernand Khnopff (exh. cat.), Hambourg, 1980, pp. 35, 41, 44, 45
C.S., "'Fernand Khnopff' exposition. Musée des Arts décoratifs, Paris", Universalia 1980, Encyclopaedia Universalis, Paris, 1980, p. 484
F. Boenders, "Fernand Khnopff Maskerade", Streven, Anvers, Jan. 1980, p. 318 (illustrated)
A. Viray, "Fernand Khnopff au Musée l'Art ancien à Bruxelles", La Dernière Heure, Brussels, Jan. 18, 1980 (illustrated)
Décapan, "Aux Musées royaux des Beaux-Arts, Fernand Khnopff", Pan, Brussels, Jan. 30, 1980
R. Micha, "Les anges et les démones de Fernand Khnopff", Art International, Lugano, Jan.-Feb. 1980, p. 59
F. De Vree, "Khnopff schilderde spectacular", NRC Handelsblad, Rotterdam, Feb. 5, 1980 (illustrated)
H. Waterschoot, "Museum voor Schone Kunsten, Brussel. Fernand Khnopff, honderd jaar later weer volop in de Kijker", Knack, Brussels, Feb. 13, 1980, p. 62
A.M. Fabian, "Eine Kunstreise von Paris nach Hamburg, "Liebkosungen"- de solate Realität eines Einzelgängers", Madame, Munich, Mar. 1980
J. Aubenas, "F. Khnopff et le désir sans corps", Papyrus, Brussels, Mar. 1, 1908 (illustrated)
R.H. Marijnissen, "Khnopff: Poëet maar eigenlijk geen schilder" De Standaard, Brussels, Mar. 3, 1980
Ph. Roberts-Jones, "Khnopff revisited", Bulletin de l'Académie Royale de Belgique, Brussels, 1980/3, p. 48 (illustrated, no. 7)
W. Hofmann, "Im Lebenstraum gefrangen: Fernand Khnopff", Hamburgs Museen, Hambourg, May 1980 (illustrated, p. 2)
R. Hoekstra, "Symbolist of pseudo-symbolist, Fernand Khnopff nader bezien", Tableau, Utrecht, summer 1980, p. 331 (illustrated)
M. Van Kerckhoven, "Muziek en plastische Kunsten", Vlaanderen, Tielt, August, 1980, p. 237
M.T. Benedetti, "Khnopff e Burne-Jones", Storia dell' Arte, Florence, 1981, no. 43, p. 269 (illustrated, no. 20)
P. and V. Berko, Dictionary of Belgian Painters born between 1750 & 1875, Brussels, 1981, p. 56 (illustrated in color)
A.M. Hammacher, Phantoms of the Imagination, New York, 1981, (illustrated, p. 192, no. 172)
J.W. Howe, The Sybolist Art of Fernand Khnopff, Ann Arbor, 1982, pp. 15, 18, 78, 94, 122-123, 149 (illustrated plates 38 and 50)
Coll. div., Vlaamse Kunst, Anvers, 1985, p. 555
R. Heller, "Concerning Symbolism and the structure of Surface", Art Journal, New York, Summer 1985, pp. 150-151, (illustrated, p. 151, fig. 4)
A. Treffers, "Fernand Khnopff. Het Mechanisme van een Symbolistisch Schilderij", Tableau, Amsterdam, Sept. 1985, p. 40 (illustrated in color, p. 41, no. 4)
D. Kelder, L'Héritage de l'Impressionisme, Paris, 1986, p. 132 (illustrated in color, p. 134, pl. 128)
R.L. Delevoy, C. de Croës and G. Ollinger-Zinque, Fernand Khnopff Catalogue de l'Oeuvre, Brussels, 1987, pp. 58-60, 237 (illustrated), 418-419
Fernand Khnopff, (exh. cat.), Tokyo, 1990, pp. 79-80, no. 9 (illustrated)
"The Magician of the End of the Century--Khnopff", Geijutsu Shincho, Japan, September 1990, p. 27 (illustrated in color)

Exhibited

Anvers, Palais de l'Industrie, des Arts et du Commerce, L'Art indépendant, 1887, no. 82 Brussels, Musée d'Art Moderne, Les XX, 1888, no. 6 Paris, Galerie Georges Petit, Société des Trente-Trois, 1888, no. 220 Paris, Exposition Universelle, 1890, no. 107 Brussels, Portraits du Siècle, 1890, no. 117 or 119 Brussels, Exposition jubilaire, 1922, no. 107 Brussels, Palais des Beaux-Arts, Exposition centennale de l'Art belge, 1930, no. 226 Brussels, Portrait de la Femme, 1931, no. 52 Turin, Galleria Civica d'Arte Moderna, Il Sacro e il Profano, June-Aug. 1969, no. 244 (illustrated in catalogue, p. 213). This exhibition later travelled to Toronto, Art Gallery of Ontario, Nov. 1-26, 1969, no. 224 (illustrated in catalogue, p. 197) Brussels, Galerie L'Ecuyer, Fernand Khnopff, 1971, no. 33 (illustrated in catalogue) Paris, Grand Palais, Peintres de l'Imaginaire, Feb. 4-April 8, 1972, no. 31 (illustrated in color in catalogue) New York, The New York Cultural Center, Painters of the Mind's Eye, Belgian Symbolists and Surrealists, Feb. 1-Mar. 17, 1974, no. 13 (illustrated in color in catalogue). This exhibition later travelled to Houston, The Museum of Fine Arts, April 4-May 12, 1974. Knokke Heist, Casino, La Symbolisme en Belgique, 1974, no. 25 (illustrated in color in catalogue) Brussels, Palais des Beaux-Arts, L'Art en Belgique 1880- 1950, June 27-Aug. 23, 1978, no. 23 (illustrated, p. 78) Ghent, Museum voor Schone Kunsten, Veertig Kunstenaars vond Karel van de Woestijne, Jan. 20-Mar. 11, 1979, no. 35 (illustrated in catalogue, p. 32) Paris, Musée des Arts Decoratifs, Fernand Khnopff, Oct. 10-Dec. 31, 1979, no. 12 (illustrated in catalogue, pp. 64 and 107). This exhibition travelled to Brussels, Musées royaux des Beaux-Arts de Belgique, Jan. 18-April 13, 1980 and Hambourg, Kunsthalle, April 25-June 16, 1980 Brussels, Banque Bruxelles-Lambert, Vies de Femmes 1830-1980, 1980, no. 531 (illustrated p. 109) Chicago, David and Alfred Smart Gallery, Fernand Khnopff and the Belgian Avant-Garde, Jan. 5-Feb. 26, 1984. This exhibition later travelled to New York, Barry Friedman Ltd., March 12- June 28, 1984 and Wilmington, Delaware, Delaware Art Museum, July 12-August 26, 1984. Tokyo, Museum of Fine Arts Bunkamura, Fernand Khnopff, June 8- July 8, 1990, no. 9. This exhibition later travelled to Himeji, Municipal Art Museum, July 14-Aug.12, 1990; Nagoya, City Art Museum, Aug. 18-Sept. 30, 1990 and Yamanashi, Departmental Museum of Art, Oct. 7-Nov. 11, 1990

Lot Essay

Marguerite-Juliette-Marie Khnopff was the artist's younger sister by six years. She was his main inspiration throughout his lifetime, and
served as the model for many of his best known paintings--Memories (1889), Du Silence (1890) and The Secret (1902). In his beautiful, enigmatic portrait of 1887, Marguerite is shown wearing a high-collared white dress, standing in a simple, closed interior where nothing is allowed to intrude. She is framed by a closed door, and stands in front of a cloth of honor--a composition reminiscent of the standing fifteenth century Madonnas that Khnopff would have known from his childhood in Bruges. Much has been written about the obsessive relationship between the artist and his sister. As a tribute to Marguerite, her brother installed the 1887 portrait in la chambre bleu, his favorite room in the villa he designed for himself in 1900. The room was filled with objects that he loved, and the portrait hung in a place of prominence over a draped devotional table which held a tennis racquet (see Figure 1). The tennis racquet had figured prominently in the composition of Khnopff's 1889 pastel, Memories, which portrayed Marguerite in seven different poses. The portrait remained in la chambre bleu until Khnopff's death in 1921, at which time it passed to Marguerite. Khnopff almost certainly intended this enigmatic painting to transcend the concept of portraiture and to be symbolic of a higher ideal--total purity as only could be personified by his beloved sister and muse--Marguerite.