费尔南德·赫诺普夫（Fernand Khnopff,1858－1921）是比利时象征主义的领军人物和杰出代表, 对象征主义绘画作出了重要的贡献。费尔南德·赫诺普夫作品大多流露出一种忧郁、颓废、苦闷、孤独、彷徨的情绪，就是所谓的世纪末情调。
弗尔南多Khnopff出生于一个富裕的家庭,是高的一部分资产阶级好几代了。Khnopff的祖先住在Vossenhoek Grembergen领域弗兰德斯自17世纪早期,但奥地利和葡萄牙语后裔。大多数男性家庭成员被律师或法官,和年轻的弗尔南多命中注定司法的职业生涯。在他的童年早期(1859 - 1864),他住在布鲁日他的父亲被任命为Substitut Du回来Du Roi。他的童年记忆中世纪的城市布鲁日在他的后期作品将扮演重要的角色。1864年,全家搬到了布鲁塞尔。在他的童年Khnopff度过暑假的一部分Tillet的哈姆雷特[1]没有那么远巴斯托涅在卢森堡省他的母亲大父母拥有房地产。他画了这个村子的几个观点。[2]
为了取悦他的父母,他去法律学校布鲁塞尔自由大学的(现在分为大学自由de布鲁塞尔和sccp布鲁塞尔当他18岁)。在此期间,他开发了一种对文学的热情,发现的作品波德莱尔,福楼拜,惊艳de Lisle和其他大多数法国作家。与他的弟弟乔治Khnopff——也热情的业余的当代音乐和诗歌,他开始频繁另一幅作品《年轻比利时(“年轻的比利时”),一群年轻的作家包括马克斯·沃勒,乔治Rodenbach,伊万Gilkin和埃米尔Verhaeren.
Khnopff离开了大学他的法律研究由于缺乏兴趣,开始频繁的工作室泽维尔Mellery,谁让他熟悉的艺术绘画。1876年10月25日,他参加的比赛分为图案然后自然(“自然的画后”)Academie皇家美术。Academie,他最著名的同学詹姆斯·恩索从一开始,他不喜欢。在1877年至1880年之间,Khnopff几次前往巴黎,在那里他发现的工作德拉克洛瓦,安格尔,男人和史蒂文斯。在巴黎世界博览会1878年他成为了熟悉的作品米莱和伯恩-琼斯。在他去年在1878 - 1879年他忽视Academie类在布鲁塞尔,住一段时间帕西,在那里,他参观了课程的自由朱尔斯约瑟夫Lefebvre在Academie朱利安.
1889年,Khnopff奠定了他第一次接触英国,在那里他在未来将保持并定期展览。英国艺术家等亨特,美国瓦茨,罗赛蒂,布朗和伯恩-琼斯会成为朋友。[3]从1895年Khnopff担任记者的英国艺术工作室》杂志上。直到爆发第一次世界大战1914年Khnopff将负责标题“Studio-Talks-Brussels”他报导了艺术的演进在比利时和欧洲大陆。1898年3月Khnopff提出的21个工作的第一个展览维也纳分裂。在维也纳他的作品受到了巨大的赞赏。[4]分离的工作他将形成一个重大影响的作品古斯塔夫•克里姆特.[4]
从1900年开始,Khnopff参与他的新家的设计工作室布鲁塞尔(拆除)。房子的灵感来自于维也纳分裂在特定的体系结构约瑟夫玛丽亚Olbrich。清醒的建筑和装饰Khnopff添加一个高度象征性的,空间和装饰的概念,把他的家变成了一个“自我”的殿堂。房子是一个天才画家的蓬勃发展。他的座右铭“,soi”(=人但是自己)是铭刻在入口处的门,在和他的工作室,他画的黄金圈刻在白色的马赛克地板。[6]这几乎戏剧设置无疑是对戏剧和歌剧Khnopffs热情的反映。Khnopff第一设计剧院可以追溯到1903年,当时他勾勒的集生产乔治Rodenbach玩“海市蜃楼”德国柏林剧院。这个产品是由著名的马克斯·莱因哈特,集唤起悲观布鲁日的神秘城市街头Khnopff度过了他的童年,被柏林感谢公众和评论家。Khnopff后一直从事设计服装和集的全球首映欧内斯特萧颂的歌剧Le Roi阿蒂斯在皇家de la Monnaie剧院在布鲁塞尔1903年,他在十几名歌剧合作产品在La Monnaie在接下来的十年。[7]1904年,市议会圣吉尔斯委托他来装饰的天花板“Salle des婚姻”(=婚礼房间)的新市政厅”,同年,他走近了富有的银行家阿道夫Stoclet设计装饰面板的音乐教室宫殿Stoclet。这里Khnopff再次联系了杰出的艺术家的维也纳分裂的架构师宫殿Stoclet约瑟夫霍夫曼,古斯塔夫•克里姆特曾设计了一个装饰镶嵌的餐厅。
虽然不是一个非常开放的人,一个相当僻静的个性,他已经达到了崇拜的地位在他的生命。承认并接受,他收到了利奥波德的顺序。他的妹妹玛格丽特,是他最喜欢的科目之一。他最著名的画可能是爱抚(“L艺术品或者Des爱抚”)。他的艺术经常描述一个反复出现的主题,象征主义艺术中发现:二元的女人为“荡妇”或天使的女人。
Khnopff被埋在拉肯公墓.
Fernand Khnopff was born to a wealthy family that was part of the high bourgeoisiefor generations. Khnopff's ancestors had lived in the Vossenhoek area of GrembergenFlanders since the early 17th century but were of Austrian and Portuguese descent. Most male members of his family had been lawyers or judges, and young Fernand was destined for a juridical career. In his early childhood (1859–1864), he lived inBruges where his father was appointed Substitut Du Procureur Du Roi. His childhood memories of the medieval city of Bruges would play a significant role in his later work. In 1864, the family moved to Brussels. In his childhood Khnopff spent part of his summer holidays in the hamlet of Tillet[1] not so far from Bastogne in theLuxemburg province where his maternal grand parents owned an estate. He painted several views of this village.[2]
To please his parents, he went to law school at the Free University of Brussels (now divided into the Université Libre de Bruxelles and the Vrije Universiteit Brussel) when he was 18 years old. During this period, he developed a passion for literature, discovering the works of Baudelaire, Flaubert, Leconte de Lisle and other mostly French authors. With his younger brother Georges Khnopff – also a passionate amateur of contemporary music and poetry – he started to frequent Jeune Belgique ("Young Belgium"), a group of young writers including Max Waller, Georges Rodenbach, Iwan Gilkinand Emile Verhaeren.
Khnopff left University due to a lack of interest in his law studies and began to frequent the studio of Xavier Mellery, who made him familiar with the art of painting. On 25 October 1876, he enrolled for the Cours De Dessin Après Nature ("course of drawing after nature") at the Académie Royale des Beaux-Arts. At the Académie, his most famous fellow student was James Ensor, whom he disliked from the start. Between 1877 and 1880, Khnopff made several trips to Paris where he discovered the work of Delacroix, Ingres,Moreau and Stevens. At the Paris World Fair of 1878 he became acquainted with the oeuvre of Millais and Burne-Jones. During his last year at the Académie in 1878–1879 he neglected his classes in Brussels and lived for a while in Passy, where he visited the Cours Libres of Jules Joseph Lefebvre at the Académie Julian.
In 1889, Khnopff laid his first contacts with England, where he would stay and exhibit regularly in the future. British artists such as Hunt, Watts, Rossetti, Brown and Burne-Jones would become friends.[3] From 1895 Khnopff worked as a correspondent for the British art journal The Studio. Until the outbreak of World War I in 1914 Khnopff would be responsible for the rubric "Studio-Talks-Brussels" in which he reported about the artistic evolutions in Belgium and continental Europe. In March 1898 Khnopff presented a selection of 21 works on the first exhibition of the Vienna Secession. In Vienna his work was received with massive admiration.[4] The works he presented at the Secession would form a major influence on the oeuvre of Gustav Klimt.[4]
From 1900 onwards, Khnopff was engaged in the design of his new home and studio inBrussels (demolished). The house was inspired by the Vienna Secession and more in particular by the architecture of Joseph Maria Olbrich. To the sober architecture and decoration Khnopff added a highly symbolic, spatial and decorative concept that turned his home into a "Temple of the self". The house functioned as a shrine in which the genius of the painter could flourish. His motto "On a que soi" (=One has but oneself) was inscribed above the entrance door, in and his studio he painted in the middle of golden circle inscribed on the white mosaic floor.[6] This almost theatrical setting was undoubtedly a reflection of Khnopffs passion for theatre and opera. Khnopff's first designs for the theatre date from 1903 when he sketched the sets for a production ofGeorges Rodenbach's play "Le Mirage" at the Deutsches Theater Berlin. This production was directed by the famous Max Reinhardt, and the sets evoking the gloomy streets of the mysterious city of Bruges where Khnopff had spent his early childhood, were much appreciated by the Berlin public and critics. After Khnopff had been engaged to design the costumes and the sets for the World premiere of Ernest Chausson's opera Le Roi Arthus at the Théâtre Royal de la Monnaie in Brussels in 1903, he collaborated on more than a dozen opera productions given at "La Monnaie" in the following decade.[7] In 1904 the city council of Saint Gilles commissioned him to decorate the ceilings of the "Salle des Marriages" (=Wedding Room) of the new Town Hall, and in the same year he was approached by the wealthy banker Adolphe Stoclet to design decorative panels for the music room of the Palais Stoclet. Here Khnopff came in touch again with prominent artists from the Vienna Secession; the architect of the Palais Stoclet Josef Hoffmann, and Gustav Klimt who had designed a decorative mosaic for its dining room.
Although not a very open man and a rather secluded personality, he already achieved cult status during his life. Acknowledged and accepted, he received the Order of Leopold. His sister, Marguerite, was one of his favorite subjects. His most famous painting is probably The Caress ("L'Art ou Des Caresses"). His art often portrayed a recurring theme found in symbolist art: the dualistic vision of woman as either 'femme fatale' or angelic woman.
Khnopff is buried in Laeken Cemetery.
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