Franz Liszt - Consolation nº 3…
Piano: Arthur Rubinstein
Camille Saint-Saëns, Piano Concerto No. 2 in G minor, Op. 22 (1868): 3. Presto
Arthur Rubinstein, piano
RCA Victor Symphony Orchestra • Alfred Wallenstein (1958)
Fun fact: Thomas Eakins’s painting The Concert Singer is housed in a wooden frame in Gallery 111 at the PMA. If you look closely, you’ll see that Eakins carved music notes all along the bottom of this frame. They correspond with the opening bars of the Felix Mendelssohn composition that the model, Weda Cook, is actually singing in the painting.
Oldreive’s new tricycle, or the New Iron Horse, 1882 > view large
'Boy with an Apple' ~ a short essay on the fictional renaissance painting featured in Wes Anderson's The Grand Budapest Hotel.
As we begin to unravel this painting it is clear that we have caught the gaze of the young man, he studies us as much as we intend to study him. This idea is key in understanding the deliberate symbolism of the portrait; the sitter is very much aware of its construction and nature, there is no voyeurism here. We must realize that this is a commercial venture; the patron of the portrait, most probably the boy’s family, have commissioned this valuable work for clear reason.
This is a boy on the verge of maturity, cleanly shaven yet appearing strong and wise in posture. The portrait displays such a transition; it is an image to mark his coming of age – a custom often dominated by female portraiture in later periods. He may well be the heir to the family, valuable in himself to their future, encouraged to seek a wife to continue this line of inheritance.
Once we move down from his gaze, and past the fashionable furs and fabrics, we see the second element of the portrait – the apple. It rests just above his extravagantly detailed codpiece, and if we are to view this portrait as a coming of age piece, the proximity of apple to such a fashion statement is not at all coincidental.
The boy holds the apple between forefinger and thumb in a typically seductive hand gesture, seen in many works of art it is a conventional device in expressing a sensual tone.
The apple is symbolic in both a biblical and classical sense. Biblically it is reminiscent of Genesis, and represents the temptation of Eve. The forbidden fruit is conventionally portrayed as an apple; here the boy displays the fruit to will temptation, yet it is very much within his grasp. More intriguing and a lot more compelling is the classical reading, with the golden apple of mythology alluding to Paris – who is given the fruit by the Gods to award to the most beautiful of three Goddesses. ‘The Judgement of Paris’ is a renowned story in art and literature; Hera, Athena and Aphrodite offer Paris different gifts to persuade him, Hera offers to make Paris a great King, Athena offers wisdom and skill in battle, Aphrodite offers the most beautiful woman in the world as his wife. Paris chooses Aphrodite, and is given Helen of Troy, thus starting the Trojan War. This famous mythological event would have been well known by renaissance artists, as well as the aristocratic sitters to such portraits. It is therefore of no coincidence that this boy, on the verge of adolescence, displays to us a golden apple. The gods of Greek mythology also favored young men verging between childhood and maturity; they were seen as the most beautiful specimens of mortal men.
We can imagine then, that this young man is deciding upon a suitor to win his golden apple, he becomes Paris, in searching beyond the frame – studying the viewer for beauty. In his instance the figure within the portrait becomes the voyeur of the audience, this position marking him a step above what could often become a vulnerable display of youth.
The concept of age may lead onto a secondary aspect of time passing by; mortality. Ultimately the fruit he displays will decay, as we can see in the dark imperfections upon the apple, it is already beginning to perish.
Norske Folkeeventyr, 5th edition, 1874. Peter Christen Asbjørnsen and Jørgen Moe.
Asbjørnsen and Moe were inspired by the German folktale collectors, the Brothers Grimm, not merely to emulate their methodology, but drawing encouragement that their endeavor was a work of national importance. Asbjørnsen and Moe used a simple linguistic style in place of dialects, while maintaining the original form of the stories.
The Canterbury Tales (original-spelling Middle English edition). Geoffrey Chaucer. Edited by Jill Mann. Penguin Classics, 2005.
The tales are as various as the pilgrims themselves, encompassing comedy, pathos, tragedy, and cynicism. The Miller and the Reeve express their mutual antagonism in a pair of comic stories combining sex and trickery; in “The Shipman’s Tale,” a wife sells her favors to a monk. Others draw on courtly romance and fantasy: the Knight tells of rivals competing for the love of the same woman, and the Squire describes a princess who can speak to birds.
Allegory of the Five Senses (1640). Simon de Vos (Flemish, 1603–1676). Oil on copper.
In this allegory the five senses are represented as a merry company. Hearing is embodied by the playing musicians, Taste by the flagons of wine, Sight by the lovers gazing into each other’s eyes, Smell by the dog or pipe smoke, and Touch by both the central girl’s contact with the musical instrument and the contact between the lovers to her left. The pyramidal, Mannerist composition, the rich colours and elegant twisting figures are all motifs typical of De Vos’ work.
Out of India. Rudyard Kipling. New York: G W Dillingham, 1895.
“There are few things sweeter in this world than the guileless, hotheaded, intemperate, open admiration of a junior. Even a woman in her blindest devotion does not fall into the gait of the man she adores, tilt her bonnet to the angle at which he wears his hat, or interlard her speech with his pet oaths.” — Kipling
A Symphony (1852). Moritz von Schwind (Austrian, 1804-1871). Oil on canvas. Neue Pinakothek, Munich.
Schwind “composed” A Symphony in oils and said that the individual zones of his painting, into which he wove a love story, correspond to the four movements of Beethoven’s Fantasia in C for Piano, Orchestra and Choir. At the bottom we see a chamber music rehearsal (Introduction), in which one of the young listeners falls in love with the singer; later they meet in a wood (Andante); above this again we see the young man declaring his feelings at a ball (Adagio); and finally, in the little castle, the happy husband and his bride are setting off for their honeymoon in the stronghold of bliss (Rondo).