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Inszenierung und Wirklichkeit

Einfluss des Künstlermythos auf die Interpretation des Werkes von Oskar Kokoschka während der expressionistischen Phase von 1908 bis 1923

dc.contributor.authorRieger, Bernd W.
dc.date.accessioned2024-03-21T07:52:37Z
dc.date.available2024-03-21T07:52:37Z
dc.date.issued2018
dc.identifierONIX_20240321_9783947251032_3
dc.identifier.urihttps://directory.doabooks.org/handle/20.500.12854/135832
dc.languageGerman
dc.subject.classificationthema EDItEUR::A The Arts::AG The Arts: treatments and subjects::AGA History of arten_US
dc.subject.classificationthema EDItEUR::3 Time period qualifiers::3M c 1500 onwards to present day::3MP 20th century, c 1900 to c 1999::3MPB Early 20th century c 1900 to c 1950en_US
dc.subject.otherKarl Kraus
dc.subject.otherExpressionismus
dc.subject.otherModernism
dc.subject.otherVienna
dc.subject.otherTurn of the century
dc.subject.otherFin de siècle
dc.subject.otherArt market
dc.subject.otherScandal
dc.subject.otherMarketing
dc.subject.otherSelf-promotion
dc.subject.otherDouble talent
dc.subject.otherAvant-garde
dc.titleInszenierung und Wirklichkeit
dc.title.alternativeEinfluss des Künstlermythos auf die Interpretation des Werkes von Oskar Kokoschka während der expressionistischen Phase von 1908 bis 1923
dc.typebook
oapen.abstract.otherlanguageWith the painting The Wind Bride (1914, see cover), the painter Oskar Kokoschka (1886-1980) depicted the climax of his amorous relationship with Alma Mahler. The amour fou ended in disappointment, which manifested itself in a symbolic overpainting - the psychologically positive red gave way to a cool blue. In Kokoschka's case, the urge for self-expression within the framework of a clearly defined artist's image began at the age of 22. He created this image in an economically determined manner, which became an artistic myth throughout his life through the blending of fantasy stories and lived experience and still determines and often falsifies the interpretation of his works from the Expressionist phase today. In his stories and lectures, reality and self-presentation were transfigured into an artistic myth to which the scientific and art-historical biography succumbed. Only recently have art historians tended to interpret the artist in terms of marketing strategy. In Kokoschka's case, it was not gaps in his memory or cognitive illusions that formed his artistic myth - it was the deliberate, all-encompassing staging.
oapen.identifier.doi10.15496/publikation-25990
oapen.relation.isPublishedBy28af0064-9575-4368-9692-69ce53023f52
oapen.relation.isbn9783947251032
oapen.pages518
oapen.place.publicationTübingen


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