THE ARTS ENTWINED CRITICAL AND CULTURAL MUSICOLOGY VOLUME 2 GARLAND REFERENCE LIBRARY OF THE HUMANITIES VOLUME 2099 CRITICAL AND CULTURAL MUSICOLOGY MARTHA FELDMAN, Series Editor Associate Professor of Music University of Chicago ADVISORY BOARD Kofi Agawu, Ruth Solie, Gary Tomlinson, Leo Treitler Music AND THE CULTURES OF PRINT edited by Kate van Orden THE ARTS ENTWINED Music and Painting in the Nineteenth Century edited by Marsha L. Morton and Peter L. Schmunk THE ARTS ENTWINED MUSIC AND PAINTING IN THE NINETEENTH CENTURY EDITED BY MARSHA L. MORTON AND PETER L. SCHMUNK I~ ~~o~;~~n~~~up New York London First Published in 2000 by Garland Publishing, Inc. A member of the Taylor & Francis Group 19 Union Square West New York, NY 10003 This edition published 2011 by Routledge: Routledge Routledge Taylor & Francis Group Taylor & Francis Group 711 Third Avenue 2 Park Square, Milton Park New York, NY 10017 Abingdon, Oxon OX14 4RN Copyright © 2000 by Marsha L. Morton and Peter L. Schmunk All rights reserved. No part of this book may be reprinted or reproduced or utilized in any form or by any electronic, mechanical, or other means, now known or hereafter invented, including photocopying and recording, or in any information storage or retrieval system, without permission in writing from the publisher. Library of Congress Cataloging-in-Publication Data The arts entwined: music and painting in the nineteenth century I edited by Marsha L. Morton and Peter L. Schmunk. p. cm. - (Garland reference library of the humanities; v. 2099. Critical and cultural musicology; v. 2) Includes index. ISBN 0-8153-3156-8 (alk. paper) 1. Art and music. 2. Music-19th century-History and criticism. 3. Painting, Modem-19th century. l. Morton, Marsha. II. Schmunk, Peter L. III. Series: Garland reference library of the humanities; v. 2099. IV. Series: Garland reference library of the humanities. Critical and cultural musicology; v. 2. ML3849.A781999 700' .9'034-dc21 99-34397 CIP Cover: Detail of Henri Fantin-Latour, Around the Piano, 1885, oil on canvas, 160 x 222 cm. Musee d'Orsay, Paris. Used by permission. Contents Series Editor's Foreword vii Martha Feldman CHAPTER 1 "From the Other Side": An Introduction 1 Marsha L. Morton CHAPTER 2 The New Paragone: Paradoxes and Contradictions of Pictorial Musicalism 23 Philippe Junod CHAPTER 3 Seeing Music: Visuality in the Friendship of Johann Wolfgang von Goethe and Carl Friedrich Zelter 47 Stephanie Campbell CHAPTER 4 Fingal's Cave and Ossian's Dream: Music, Image, and Phantasmagoric Audition 63 Thomas S. Grey CHAPTER 5 Painted Responses to Music: The Landscapes of Corot and Monet 101 Kermit Swiler Champa v vi Contents CHAPTER 6 In the Toils of Queen Omphale: Saint-Saëns's Painterly Refiguration of the Symphonic Poem 119 Carlo Caballero CHAPTER 7 Painting Around the Piano: Fantin-Latour, Wagnerism, and the Musical in Art 143 Lisa Norris CHAPTER 8 Van Gogh in Nuenen and Paris: The Origins of a Musical Paradigm for Painting 177 Peter L. Schmunk CHAPTER 9 Music to Our Ears?: Munch's Scream and Romantic Music Theory 209 Elizabeth Prelinger Contributors 227 Index 231 SERIES EDITOR'S FOREWORD Critical and Cultural Musicology MARTHA FELDMAN Musicology has undergone a sea change in recent years. Where once the discipline knew its limits, today its boundaries seem all but limitless. Its subjects have expanded from the great composers, patronage, manu- scripts, and genre formations to include race, sexuality, jazz, and rock; its methods from textual criticism, formal analysis, paleography, narrative history, and archival studies to deconstruction, narrativity, postcolonial analysis, phenomenology, and performance studies. These categories point to deeper shifts in the discipline that have led musicologists to ex- plore phenomena that previously had little or no place in musicology. Such shifts have changed our principles of evidence while urging new understandings of existing ones. They have transformed prevailing no- tions of musical texts, created new analytic strategies, recast our sense of subjectivity, and produced new archives of data. In the process, they have also destabilized canons of scholarly value. The implications of these changes remain challenging in a field whose intellectual ground has shifted so quickly. In response to them, this series offers essay collections that give thematic focus to new critical and cultural perspectives in musicology. Most of the essays contained herein pursue their projects through sustained research on specific musi- cal practices and contexts. They aim to put strategies of scholarship that have developed recently in the discipline into meaningful exchanges with one another while also helping to construct fresh approaches. At the same time they try to reconcile these new approaches with older meth- ods, building on the traditional achievements of musicology in helping to forge new disciplinary idioms. In both ventures, volumes in this series vii viii Critical and Cultural Musicology also attempt to press new associations among fields outside of musi- cology, making aspects of what has often seemed an inaccessible field intelligible to scholars in other disciplines. In keeping with this agenda, topics treated in the series include music and the cultures of print; music, art, and synesthesia in nineteenth- century Europe; music in the African diaspora; relations between opera and cinema; Marxism and music; and music in the cultural sensorium. Through enterprises like these, the series hopes to facilitate new discipli- nary directions and dialogues, challenging the boundaries of musicology and helping to refine its critical and cultural methods. THE ARTS ENTWINED