MAKSS KLINGERS, JOHANNESS BRĀMSS UN KOPMĀKSLAS DARBA MISIJA: VĒLREIZ PAR KLINGERA BRĀMSA FANTĀZIJU (1894)
Atslēgvārdi:
Makss Klingers, Johanness Brāmss, Brāmsa fantāzija, Rihards Vāgners, multimediji, kopmākslas darbsAnotācija
1894. gada 1. janvārī mākslinieks Makss Klingers (Klinger, 1857– 1920) nosūtīja Johannesam Brāmsam vērtīgu dāvanu – savu jaunāko mākslasdarbu. Tas ietvēra četrdesmit vienu gravīru un ofortu, starp kuriem bija ievietotas sešu Brāmsa vokālo kompozīciju partitūras. Savu sūtījumu Klingers nodēvēja par Brāmsa fantāziju / Brahms-Phantasie (Klinger, 1894 : 9). Jau pirms šī veltījuma Brāmsam viņš bija guvis plašu ievērību kā tēlotājmākslas pārstāvis. Pēc Hugo fon Hofmanstāla (Hofmannstahl, 1874– 1929) vārdiem, daudzi uzskatīja Klingeru par visoriģinālāko mākslinieku, ar kādu Vācija var lepoties (Boetzkes, 1984 : 96). Tomēr Brāmsa fantāzija bija kas vairāk nekā tikai kārtējais mākslinieka slaveno gravīru krājums. Tas bija darbs, kas jāredz un jādzird – gan burtiskā nozīmē, klausoties Brāmsa mūzikas atskaņojumu, gan skatītāja apziņā. Tas bija multimediāls darbs, kas paplašina divdimensiju tēlu radīto iespaidu, turpinot to akustiskajā telpā. Tādējādi Brāmsa fantāzija uzskatāma par Klingera teorētiskajos darbos aprakstītās telpiskās mākslas (Raumkunst) vēl nebijušu īstenojumu. Riharda Vāgnera centieni apvienot mūziku, dzeju un tēlotājmākslu, veidojot kopmākslas darbu (Gesamtkunstwerk), bija rosinājuši arī Klingera ieceri sintezēt dažādu mākslu līdzekļus savā telpiskajā mākslasdarbā (Raumkunstwerk), kas burtiski piepildītu vērotāja dzīvestelpu.
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