|PAINTER, SCULPTOR, GRAPHICAL ARTIST, THEORIST (BELGIUM)|
BORN 12 Sep 1858, Grembergen (near Dendermonde) - DIED 12 Nov 1921, Brussel|
GRAVE LOCATION Brussel: begraafplaats Laken (Perk 28, weg 4, concessie 229)
Khnopff grew up in Brugge (Bruges) and after a short period at
the Brussels Law School he studied under F.X. Mellory at the
Académie des Beaux-Arts in Brussels. In 1877 he visited Paris
and saw the paintings of Delacroix, Moreau, Rossetti and Burne-Jones.
These painters influenced his style and he became an important
painter in the symbolist movement. |
In 1883 he co-founded the Groupe des XX (The Group of Twenty). His work enjoyed critical acclaim in the press and in 1892 he was one of the 60 artists that exhibited at the first Salon de la Rose+Croix at the Durant-Ruel Gallery, rue Lepelletier, Paris. This was not entirely to the liking of several members of his "XX", who didn't care for Joséphin Péladan, the organizing writer who claimed to be a descendant of the last king of Babylon.
Women shown as sphinxes or chimeras were recurring themes in Khnopff's work. He frequently used literature or poetry for inspiration. "I Lock my Door upon myself" (1891, Neue Pinakothek, München) and "Who Shall Deliver Me?)" (1891, private collection, Belgium) were both inspired by the work of Christina Rossetti.
Khnopff was a popular figure in society and he received the Order of Leopold for his work. Among his friends were Georges Rodenbach and Grégoire Le Roy. He knew Burne-Jones, with whom he exchanged drawings. Khnopff himself influenced Franz von Stuck and several Jugendstil painters.
Work: "Les caresses" (1896, Musées Royaux des Beaux-Arts de Belgique, Brussels); "'En écoutant de Schumann" (1883?, Musées Royaux des Beaux-Arts de Belgique, Brussels).
knew Burne-Jones, Edward Coley
was pupil to Mellery, Xavier
was a friend of Rodenbach, George
was inspired by Rossetti, Christina Georgina
influenced Stuck, Franz von
Schilderkunst van A tot Z, REBO, Lisse, 1990
Wilton, Andrew e.a., Der Symbolismus in England, Haus der Kunst, München, 1998