Author Email: email@example.com
A personal satirical iconography is a valuable source of information about composers. Developing under the influence of many factors – public opinion, private and professional reputation, friendly or hostile relations with critics and artists – it complements pure facts of musician biographies and analytical materials with an emotionally colored perception. The article examines the satirical images of Richard Wagner, which reflect the peculiarities of the approach to his personality and creativity: internationalism, accentuated publicism, grotesque, denunciation and prolongation to the future. Wagner’s iconography was created by the caricaturists of different countries and peoples for a long time. In different periods, the perception of the German composer as a person and an artist was supplemented by new nuances, mostly of negative character. Thus, “Wagnerian myth” appeared in the world of caricature, interpreting its creative path as a chain of annoying delusions and insidious atrocities that had long-term negative consequences in musical art and world history. The composer is shown as a vain and an arrogant man, obsessed with his power delusions, a self-interested person, a demonic personality, the destroyer of classical orchestra standards. In recent decades, there has been the tendency of Wagner’s personality “rehabilitation” in a caricature, the perception of his heritage as a stable element of the world musical culture in all the complexity of its components.
Richard Wagner is one of the most controversial figures of musical art and he served as a favorite “target” for caricaturists not only throughout his creative path, but also after death. Different facets of his artistic nature, different works and ideals were in the focus of artist attention. And until now the objects of Wagner’s heritage make an ambiguous reaction of the public periodically, becoming an occasion for a heated discussion in society – whether it is the fate of the Bayreuth Festival or the performance of his opera works.
The satiric images examined by us show Wagner in a sharp satirical and grotesque vein as a proud man, a greedy man and an anti-Semite. His position is unstable: between triumph and failure, fame and oblivion, talent and mediocrity. Later, Wagner was also accused of pro-fascist sentiments development in Germany that led the country to humanitarian and cultural catastrophe in the 1930s and 1940s. A German romanticist emerges as a demonic personality associated with the world of evil and darkness.
Wagner’s iconography was created by the caricaturists of different countries and peoples for a long time. In different periods, the perception of the German composer as a person and an artist was supplemented by new nuances, mostly of negative character. In recent decades, there has been the tendency to “rehabilitate” Wagner’s personality in a caricature, to perceive his heritage as a stable element of the world musical culture. Wagner’s caricatures are characterized by open publicism and an accusatory tone as a rule.
The results of the study will contribute to the deepening of the existing knowledge about the change of stylistic paradigms in the history of music in their interconnection with related art forms, the spiritual climate of the epoch, as well as with public opinion and perceptions. At the same time, the ideas are developed about the thematic and species diversity of a caricature interpreting the phenomena of musical creativity
- Aynutdinov A.S. Caricature as a type of comic intent picturing in modern Russian print media: abstract from dis. written by the cand. of philology. – Ekaterinburg, 2010. – 20 p.
- Arias A.M. Interaction of a verbal and a non-verbal component in a cartoon and a collage: the material of the German-language media: the author’s abstract from the dis. by the cand. of philology. – St. Petersburg, 2012. – 30 p.
- Golikov A.G., Rybachenok I.S. Laughter is a serious matter. Russia and the world at the turn of the XIX-XX centuries in a political caricature. – M., 2010. – 328 p.
- Nael A. Tragic in a cartoon: on the material of cartoons from Estonian editions of the interwar period (1918-1940) // Russian philology. Issue 25. – Tartu, 2013. – pp. 274 – 283.
- Greth K. Le dessin de caricature en Russie comme miroir des representations: memoire de DEA. – Marne la Vallée, 2003.
- Safiullina L.G., Rakhmatullina R.R. The development of musical satirical iconography: based on the materials of foreign caricatures of the XVIIIth – early XIXth centuries. // Bulletin of the South Ural State University. Series: Humanities. 2016. – V. 16. – No. 2. – pp. 80-89.
- Salikhova L.I., Safiullina L.G., Batyrshina G.I. Caricature as Means of Visual Communication in Musical Journalism // International Journal of Humanities and Cultural Studies. – 2016. – August. – Special Issue. – pp. 233-246.
- Chrissochoidis I. Handel, Hogarth, Goupy: artistic intersections in early Georgian England // Early Music: Oxford Journals. – 2009. – Volume 37, Issue 4. – pp. 577-596.
- Wagner et la France: Numero special de la Revue musicale. – Paris, octobre 1893.
- D’Indy V. Richard Wagner et son enfluence sur l’art musical francaise. – Librairie Delayrane. – Paris, 1930.
- Huebner S. French opera at the fin de siècle. Wagnerism, nationalism, and style. – Oxford, 1999. – 526 p.
- Tashtamirova L.Sh. Wagner and France. Wagner’s influence on the French culture of the second half of the XIXth century. – M., 2013. – 155 p.
- Grand-Carteret J. Richard Wagner en caricatures. – Paris,1892.- 336 p.
1,016 total views, 2 views today