A Gesamtkunstwerk (German: [gəˈzamtˌkʊnstvɛʁk], translated as "total work of art", "ideal work of art", "universal artwork", "synthesis of the arts", "comprehensive artwork", "all-embracing art form" or "total artwork") is a work of art that makes use of all or many art forms or strives to do so. The term is a German word which has come to be accepted in English as a term in aesthetics.
The term was first used by the German writer and philosopher K. F. E. Trahndorff in an essay in 1827. The German opera composer Richard Wagner used the term in two 1849 essays, and the word has become particularly associated with his aesthetic ideals. It is unclear whether Wagner knew of Trahndorff's essay.
In the twentieth century, some writers applied the term to some forms of architecture, while others have applied it to film and mass media.
Some elements of opera, seeking a more "classical" formula, had begun at the end of the 18th century. After the lengthy domination of opera seria, and the da capo aria, a movement began to advance the librettist and the composer in relation to the singers, and to return the drama to a more intense and less moralistic focus. This movement, "reform opera" is primarily associated with Christoph Willibald Gluck and Ranieri de' Calzabigi. The themes in the operas produced by Gluck's collaborations with Calzabigi continue throughout the operas of Carl Maria von Weber, until Wagner, rejecting both the Italian bel canto tradition and the French "spectacle opera", developed his union of music, drama, theatrical effects, and occasionally dance.
However these trends had developed fortuitously, rather than in response to a specific philosophy of art; Wagner, who recognised the reforms of Gluck and admired the works of Weber, wished to consolidate his view, originally, as part of his radical social and political views of the late 1840s. Previous to Wagner, others who had expressed ideas about union of the arts, which was a familiar topic among German Romantics, as evidenced by the title of Trahndorff's essay, in which the word first occurred, "Aesthetics, or Theory of Philosophy of Art". Others who wrote on syntheses of the arts included Gottfried Lessing, Ludwig Tieck and Novalis. Carl Maria von Weber's enthusiastic review of E.T.A. Hoffmann's opera Undine (1816) admired it as 'an art work complete in itself, in which partial contributions of the related and collaborating arts blend together, disappear, and, in disappearing, somehow form a new world'.
Wagner used the exact term 'Gesamtkunstwerk' (which he spelt 'Gesammtkunstwerk') on only two occasions, in his 1849 essays "Art and Revolution" and "The Artwork of the Future", where he speaks of his ideal of unifying all works of art via the theatre. He also used in these essays many similar expressions such as 'the consummate artwork of the future' and 'the integrated drama', and frequently referred to 'Gesamtkunst'. Such a work of art was to be the clearest and most profound expression of folk legend.
Wagner felt that the Greek tragedies of Aeschylus had been the finest (though still flawed) examples so far of total artistic synthesis, but that this synthesis had subsequently been corrupted by Euripides. Wagner felt that during the rest of human history up to the present day (i.e. 1850) the arts had drifted further and further apart, resulting in such "monstrosities" as Grand Opera. Wagner felt that such works celebrated bravura singing, sensational stage effects, and meaningless plots. In "Art and Revolution" Wagner applies the term 'Gesamtkunstwerk' in the context of Greek tragedy. In "The Art-Work of the Future" he uses it to apply to his own, as yet unrealised, ideal.
In his extensive book Opera and Drama (completed in 1851) he takes these ideas further, describing in detail his idea of the union of opera and drama (later called music drama despite Wagner's disapproval of the term), in which the individual arts are subordinated to a common purpose.
Wagner's own opera cycle Der Ring des Nibelungen, and specifically its components Das Rheingold and Die Walküre represent perhaps the closest he, or anyone else, came to realising these ideals; he was himself after this stage to relax his own strictures and write more 'operatically'.
Gesamtkunstwerk was typical for Art Nouveau artists. Belgians Victor Horta and Henry Van de Velde, Catalan Antoni Gaudí, French Hector Guimard, Scottish Charles Rennie Mackintosh, Austrian Josef Hoffmann, Russian German Franz (Fyodor) Schechtel, and many other architects also acted as furniture and interior designers in their works. Also, many of Art Nouveau masterpieces were results of cooperation of artists of different fields, e.g.:
- Villa Majorelle (1901-1902) in Nancy, France was created by architect Henri Sauvage, furniture designer Louis Majorelle, ceramist Alexandre Bigot, and stained glass artist Jacques Grüber,
- The Municipal House (1904-1912) in Prague, Czech Republic was designed by Osvald Polívka and Antonín Balšánek, painted by famous Czech painter Alphonse Mucha and features sculptures of Josef Mařatka and Ladislav Šaloun,
- The Gresham Palace (1904-1906) in Budapest, Hungary is was created by architects by Zsigmond Quittner and Jozsef Vago, sculptors Géza Maróti, Miklós Ligeti, and Ede Telcs, stained glass artist Miksa Róth and metalwork artist Gyula Jungfer.
Art Nouveau buildings, that are included in UNESCO World Cultural Heritage List as separate objects (not as a part of their city centres), are all examples of Gesamtkunstwerk. These are:
- Works of Victor Horta
- Works of Lluís Domènech i Montaner: Palau de la Música Catalana and Hospital de Sant Pau in Barcelona
- sculptors Pablo Gargallo, Eusebi Arnau, and mosaic master Mario Maragliano took part in both projects,
- sculptor Miguel Blay, stained glass master Antoni Rigalt, ceramist Lluis Brù i Salelles were involved in costruction of Palau de la Música Catalana,
- metalwork artist Josep Perpinyà was involved in costruction of Hospital de Sant Pau,
- Works of Antoni Gaudí: Park Güell, Palau Güell, Sagrada Família, Casa Batlló, Casa Milá, Casa Vicens in Barcelona; Colònia Güell in Santa Coloma de Cervelló)
- mosaic master Mario Maragliano was involved in construction of Sagrada Família,
- architect Francesc Berenguer i Mestres was involved in construction of Sagrada Família and Colònia Güell,
- architect Joan Rubió was involved in construction of La Sagrada Familia, Casa Batlló, and Parc Güell,
- artist of many genres Josep Maria Jujol helped Gaudí with Casa Batlló, Casa Milà, and Park Güell.
- Stoclet Palace in Brussels was created by architect and designer Josef Hoffmann, painters Gustav Klimt, Fernand Khnopff, sculptor Franz Metzner, and mosaic master Leopold Forstner. The construction of the palace foreshadowed Art Deco and the Modern architecture.
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Some architectural writers have used the term Gesamtkunstwerk to signify circumstances where an architect is responsible for the design and/or overseeing of the building's totality: shell, accessories, furnishings, and landscape. It is difficult to make a claim for when the notion of the Gesamtkunstwerk was first employed from the point of view of a building and its contents (although the term itself was not used in this context until the late 20th century); already during the Renaissance, artists such as Michelangelo saw no strict division in their tasks between architecture, interior design, sculpture, painting and even engineering. It has been argued by historian Robert L. Delevoy that Art Nouveau represented an essentially decorative trend that thus lent itself to the idea of the architectural Gesamtkunstwerk. But it is equally possible it was born from social theories that arose out of a fear of the rise of industrialism.
However, evidence of complete interiors that typify the concept of Gesamtkunstwerk can be seen some time before the 1890s. There was an increasing trend amongst architects in the 18th and 19th centuries to control every facet of an architectural commission. As well as being responsible for the structure they tried to extend their role to include designing (or at least vetting) every aspect of the interior work as well. This included not only the interior architectural features but was extended to the design of furniture, carpets, wallpaper, fabrics, light fixtures and door-handles. Robert Adam and Augustus Welby Pugin are examples of this trend to create an overall harmonising effect which in some cases might even extend to the choice or design of table silver, china and glassware.
As modern inspirationEdit
In Switzerland, Bruno Weber Park is an example of a piece inspired by Gesamtkunstwerk, a sculpture garden by Bruno Weber (1931–2011). Similarly, Centre Le Corbusier is an example dedicated to Le Corbusier (1887–1965).
- Millington (n.d.), Warrack (n.d.)
- Oxford English Dictionary, Gesamtkunstwerk
- ArtLex Art Dictionary Archived 2016-08-14 at the Wayback Machine
- Trahndorff (1827), Ästhetik oder Lehre von Weltanschauung und Kunst
- "Richard Wagner's Concept of the 'Gesamtkunstwerk'". Interlude.hk. Retrieved 2016-05-08.
- For discussions of architecture as Gesamtkunstwerk, see the relevant section of this article. For discussions of film and mass media, see for instance Matthew Wilson Smith, The Total Work of Art: From Bayreuth to Cyberspace. New York: Routledge, 2007; Carolyn Birdsall, Nazi Soundscapes: Sound, Technology, and Urban Space in Germany, 1933–1945. Amsterdam: Amsterdam University Press, 2012. pp. 141–72; and Jeongwon Joe, "Introduction: Why Wagner and Cinema? Tolkien Was Wrong." In Wagner and Cinema, edited by Jeongwon Joe and Sander L. Gilman, 1–26. Indiana: Indiana University Press, 2010.
- Millington (n.d.)
- Strunk, Oliver (1965). Source Readings in Music History: The Romantic Era. New York. p. 63. Archived from the original on 2005-05-02. Retrieved 2008-05-10.
- Wagner (1993), p. 35, where the word is translated as 'great united work'; p. 52 where it is translated as 'great unitarian Art-work'; and p. 88 (twice) where it is translated as 'great united Art-work'.
- Warrack (n.d.), Gesamtkunstwerk is incorrect in saying that Wagner used the word only in "The Artwork of the Future"
- Millington (n.d.)
- Grey (2008) 86
- Millington (1992) 294–95
- World Heritage Centre, UNESCO. "Major Town Houses of the Architect Victor Horta (Brussels)". whc.unesco.org.
- Ouvrage collectif sous la direction de Philippe Roberts-Jones, Bruxelles fin de siècle, Flammarion, 1994, p.182
- Schoonbroodt, B, Art Nouveau Kunstenaars in Belgie, 2008: p. 196
- Metdepenninghen, Catheline; Celis, Marcel M. (2010). Pieter Braecke, beeldhouwer 1858-1938. Als de ziele luistert (in Dutch). Agentschap erfgoed van de Vlaamse Overheid. p. 56. ISBN 9789040302947.
- http://whc.unesco.org/en/list/804/multiple=1&unique_number=950 Official List of the UNESCO site "Palau de la Música Catalana and Hospital de Sant Pau, Barcelona" (1997)
- http://whc.unesco.org/en/list/320/multiple=1&unique_number=364 Official List of the UNESCO Site "Works of Antoni Gaudí" (1994, 2005)
-  Cèsar Martinell. Gran Enciclopèdia Catalana, 2007
- http://whc.unesco.org/en/list/1298 Official List of the UNESCO Site "Stoclet Palace"
- "Palais Stoclet ist Weltkulturerbe". www.oe24.at. 2009-06-27. Retrieved 2016-06-10.
- Michael A. Vidalis, "Gesamtkunstwerk – 'total work of art'", Architectural Review, June 30, 2010.
- Robert L. Delevoy, 'Art Nouveau', in Encyclopaedia of Modern Architecture. Thames & Hudson, 1977.
- "Home - GESAMTKUNSTWERK". GESAMTKUNSTWERK. Retrieved 2017-12-28.
- Perkins, Martha (2014-03-20). "Vancouver House introduces gwerk to the world". Vancouver Courier.
- "Home - GESAMTKUNSTWERK". GESAMTKUNSTWERK. Retrieved 2017-12-28.
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- Bergande, Wolfram: "The creative destruction of the total work of art. From Hegel to Wagner and beyond", in: Ruhl (Ed.): The death and life of the total work of art, Berlin: Jovis, 2014
- Finger, Anke and Danielle Follett (eds.) (2011) The Aesthetics of the Total Artwork: On Borders and Fragments, The Johns Hopkins University Press
- Grey, Thomas S. (ed.) (2008) The Cambridge Companion to Wagner, Cambridge University Press. ISBN 978-0-521-64439-6
- Koss, Juliet (2010) Modernism After Wagner, University of Minnesota Press, ISBN 978-0-8166-5159-7
- Millington, Barry (ed.) (1992) The Wagner Compendium: A Guide to Wagner's Life and Music. Thames and Hudson Ltd., London. ISBN 0-02-871359-1
- Millington, Barry (n.d.) "Gesamtkunstwerk", in Oxford Music Online (subscription only) (consulted 15.9.2010)
- Roberts, David (2011) "The Total Work of Art in European Modernism", Cornell University Press, Ithaca, NY
- Trahndorff, Karl Friedrich Eusebius (1827) Ästhetik oder Lehre von Weltanschauung und Kunst
- Wagner, Richard (1993), tr. W. Ashton Ellis The Art-Work of the Future and Other Works. Lincoln and London, ISBN 0-8032-9752-1
- Warrack, John (n.d.) "Gesamtkunstwerk" in The Oxford Companion to Music online, (subscription only) (consulted 15 September 2069)
- The dictionary definition of Gesamtkunstwerk at Wiktionary