Lot Essay
The majority of Fernand Khnopff's work showcases his talent as a draughtsman and his small-scale drawings are among his most celebrated works. When Khnopff comes to depict the necklace containing two medallions in this current study, Pol de Mont remarks on the result of his diligent draughtsmanship being ‘like that of miniatures’ and praises this work as being “one of the best ever realised by the artist” (P. de Mont, ‘Fernand Khnopff’ in Vlaamsche schilders der negentiende eeuw, 1901, p. 133.)
Philippe Julien notes that Belgian symbolists sought inspiration above all from Hans Memling (1430-1494) ( P. Julien, The Symbolists, Oxford, 1973, p. 11). Francisca Vendepitte observes that the present lot is indebted to Sandro Botticelli (1445-1510) and Memling, both in terms of historical lineage, but also as a standard for Khnopff to define his work against. Botticelli and Memling each produced a striking portrait of a young man with an antique coin or medallion. However, the intention in Khnopff’s treatment of the subject is not to copy, but to use the past to define one’s own artistic approach. The echoes of Botticelli and Memling’s work are woven into the nature of the present lot, helping to create an otherworldly feel. Vendepitte surmises this when noting Draguet’s parallels between “the system of closed symbols in the art of the 15th century and the hermetic symbolism of the decadent. In both cases concrete, real objects in the representation refer to another, hidden and higher religious or ideal reality; with Khnopff, however, this results in a hyper individual, disquieting investigation of various levels of reality” (F. Vendepitte ‘Necklace with Medallions’ in Fernard Khnopff, exh. cat., Royal Museums of Fine Art of Belgium, Brussels, 2004, p. 176).
Khnopff’s sister, Marguerite, is the model for this softly nuanced drawing, subtly heightened with pastel. Vendepitte finds symbols to decipher beyond the coins in her description of Maguerite’s appearance “as an androgynous page with an impressive angelic face…like the untouchable women, he wears gloves; the flower he displays has not yet bloomed” (ibid., p. 176).
The friendship of mutual admiration between the British Pre-Raphaelite Edward Burne-Jones (1833-1898) and the Belgian anglophile symbolist Fernand Khnopff has been well documented. Le collier de médailles was singled out by Maria Biermé as showing the influence of British Symbolism in Khnopff’s work. This work is noted as a prime example of ‘faces framed by naturally curly hair… dreamy eyes [that] veil who knows what naïve or profound mysteries and… physiognomy imbued with supreme distinction” (M. Biermé, ibid., p. 32).
Philippe Julien notes that Belgian symbolists sought inspiration above all from Hans Memling (1430-1494) ( P. Julien, The Symbolists, Oxford, 1973, p. 11). Francisca Vendepitte observes that the present lot is indebted to Sandro Botticelli (1445-1510) and Memling, both in terms of historical lineage, but also as a standard for Khnopff to define his work against. Botticelli and Memling each produced a striking portrait of a young man with an antique coin or medallion. However, the intention in Khnopff’s treatment of the subject is not to copy, but to use the past to define one’s own artistic approach. The echoes of Botticelli and Memling’s work are woven into the nature of the present lot, helping to create an otherworldly feel. Vendepitte surmises this when noting Draguet’s parallels between “the system of closed symbols in the art of the 15th century and the hermetic symbolism of the decadent. In both cases concrete, real objects in the representation refer to another, hidden and higher religious or ideal reality; with Khnopff, however, this results in a hyper individual, disquieting investigation of various levels of reality” (F. Vendepitte ‘Necklace with Medallions’ in Fernard Khnopff, exh. cat., Royal Museums of Fine Art of Belgium, Brussels, 2004, p. 176).
Khnopff’s sister, Marguerite, is the model for this softly nuanced drawing, subtly heightened with pastel. Vendepitte finds symbols to decipher beyond the coins in her description of Maguerite’s appearance “as an androgynous page with an impressive angelic face…like the untouchable women, he wears gloves; the flower he displays has not yet bloomed” (ibid., p. 176).
The friendship of mutual admiration between the British Pre-Raphaelite Edward Burne-Jones (1833-1898) and the Belgian anglophile symbolist Fernand Khnopff has been well documented. Le collier de médailles was singled out by Maria Biermé as showing the influence of British Symbolism in Khnopff’s work. This work is noted as a prime example of ‘faces framed by naturally curly hair… dreamy eyes [that] veil who knows what naïve or profound mysteries and… physiognomy imbued with supreme distinction” (M. Biermé, ibid., p. 32).