‘Mirages and visions in the air’

IF 0.4 0 RELIGION
Per Faxneld
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引用次数: 0

Abstract

Around the year 1900, European discourse on art was becoming increasingly ‘eso­ tericized’. The 1890s saw esoteric art salons create a sensation in Paris, and art critics and theorists painted a picture of the true artist and the esotericist as overlapping figures. There was also at the time a conflict regarding medium­ istic art, a phenomenon initially made popular through Spiritualist mediums. This debate, as we shall see, had interesting gendered dimensions. In what follows, I will discuss how the Swedish female esotericist and artist Tyra Kleen (1874– 1951) attempted to situate herself in connection to the concept of the artist as a magus, and the tensions between the positive view of medium­ ism in Spiritualism and the more negative or cau­ tious approach to it in Theosophy, as well as in relation to the attendant gender issues.
“空中的幻影”
1900年左右,欧洲关于艺术的讨论变得越来越“本土化”。19世纪90年代,神秘的艺术沙龙在巴黎引起了轰动,艺术评论家和理论家将真正的艺术家和神秘主义者描绘成重叠的人物。当时也存在着关于媒介艺术的冲突,这种现象最初通过灵媒而流行起来。正如我们将看到的那样,这场辩论具有有趣的性别层面。在接下来的文章中,我将讨论瑞典女性密教家和艺术家Tyra Kleen(1874-1951)如何试图将自己与艺术家作为一个法师的概念联系起来,以及精神主义中媒介主义的积极观点与神智学中更消极或谨慎的方法之间的紧张关系,以及与随之而来的性别问题的关系。
本文章由计算机程序翻译,如有差异,请以英文原文为准。
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来源期刊
CiteScore
0.60
自引率
25.00%
发文量
24
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