Rudolf Jettmar (1869-1939) stands as a significant, if sometimes underappreciated, figure in Austrian art at the turn of the 20th century. A painter, printmaker, and influential educator, Jettmar navigated the vibrant and transformative artistic landscape of Vienna, contributing profoundly to the Symbolist movement and the Vienna Secession. His work, characterized by its imaginative depth, technical mastery, and often somber, mythological themes, offers a fascinating window into the cultural currents of Fin-de-Siècle Austria.
Early Life and Artistic Formation
Born in Zawod, Tarnopol, Galicia (then part of the Austro-Hungarian Empire, now in Ukraine, though some sources state Zawod, Slovenia, later Croatia), Rudolf Jettmar's artistic journey led him to Vienna, the imperial capital and a crucible of artistic innovation. He enrolled at the prestigious Academy of Fine Arts Vienna (Akademie der Bildenden Künste Wien), where he honed his skills. During his formative years, he would have been exposed to the prevailing academic traditions, but also to the burgeoning modernist impulses that would soon coalesce into distinct movements.
The artistic environment in Vienna was rich and complex. While traditional history painting still held sway in official circles, artists were increasingly looking for new modes of expression. The influence of international Symbolism, with figures like Arnold Böcklin and Max Klinger from the German-speaking world, and others such as Gustave Moreau and Odilon Redon in France, was beginning to permeate the artistic consciousness of younger Austrian artists. Klinger, in particular, with his elaborate print cycles and philosophical depth, would prove to be a lasting influence on Jettmar's own graphic work.
The Vienna Secession and Jettmar's Role
Rudolf Jettmar became an important member of the Vienna Secession, founded in 1897. This groundbreaking group of artists, which included luminaries such as Gustav Klimt, Koloman Moser, Josef Hoffmann, and Joseph Maria Olbrich, sought to break away from the conservative artistic establishment. They aimed to create a uniquely modern Austrian art, embracing international avant-garde trends and promoting the "Gesamtkunstwerk" – the total work of art that integrated various art forms.
Jettmar actively participated in the Secession's exhibitions, which were pivotal in introducing new artistic ideas to the Viennese public. His contributions often included graphic works and designs that aligned with the Secession's aesthetic principles, emphasizing decorative qualities, stylized forms, and a departure from naturalistic representation. For instance, he designed a poster for a Vienna Secession exhibition in 1906, showcasing his ability to work within the distinctive visual language of the movement. The Secession provided a vital platform for Jettmar, allowing his work to be seen alongside that of the leading modernists of his day.
Symbolism: The Core of Jettmar's Vision
While associated with the Secession, Jettmar's artistic heart lay firmly within Symbolism. He is considered, alongside artists like Alfred Kubin and Karl Mediz, one of the most consistent representatives of Austrian Symbolism. His works delve into the realms of mythology, allegory, and the subconscious, often imbued with a sense of drama, melancholy, or existential questioning. Jettmar's Symbolism was not merely illustrative; it sought to evoke moods and ideas through suggestive imagery, rich textures, and often a dramatic use of light and shadow.
His thematic concerns frequently revolved around the human condition, the forces of nature, and ancient myths, which he reinterpreted through a personal and often introspective lens. The influence of Max Klinger is particularly evident in Jettmar's approach to narrative cycles and his exploration of profound, often unsettling, themes. Like Klinger, Jettmar found printmaking to be an ideal medium for conveying the complex intellectual and emotional content of his Symbolist vision.
Master of Printmaking: Etchings and Lithographs
Rudolf Jettmar was a consummate master of printmaking, particularly etching and lithography. His graphic works are perhaps his most enduring legacy, showcasing exceptional technical skill and profound artistic expression. He possessed a remarkable ability to manipulate line and tone, creating images of great power and atmospheric depth. His etchings are characterized by their rich blacks, intricate details, and dramatic chiaroscuro, which he used to heighten the emotional impact of his subjects.
One of his most significant achievements in printmaking is The Cain Cycle, a series of etchings based on Lord Byron's dramatic poem. In these works, Jettmar explores themes of guilt, alienation, and divine judgment with a stark intensity. The figures are often monumental, set against desolate landscapes that amplify their psychological turmoil. Other notable etchings include Night Time (1910) and Prometheus (1916), both of which demonstrate his ability to convey grand, mythological narratives with a deeply personal and evocative touch. His mastery extended to lithography, where he also produced works of significant artistic merit.
Notable Works and Thematic Exploration
Beyond his print cycles, several individual works stand out in Jettmar's oeuvre. One of his most discussed pieces is the diptych watercolor lithograph Acoustics: Electricity (1896). This work, created in the context of the Vienna Secession's early years, explores the symbolic and almost mystical implications of modern science and technology. It reflects the era's fascination with new discoveries and their potential to transform human experience, a theme also explored by other artists grappling with modernity.
His painting The Four Seasons: Summer (1928) reveals another facet of his art, showcasing his engagement with natural themes, likely rendered with the same symbolic depth that characterizes his mythological works. The oil painting Fighting with a Monster further exemplifies his penchant for dramatic, allegorical scenes, where human figures confront powerful, often primal, forces. Jettmar also undertook commissions for larger-scale works. In 1914, he collaborated with Karl Rothaug on ceiling frescoes for the Kurhaus in Meran. During the interwar period, he painted frescoes for sacred buildings in Lower Austria and Vienna and designed ceramic architectural sculpture templates for the Hauptschule in Aspern. A religious work, The Way of Life (1909), was unfortunately lost during World War II.
Jettmar's interest in music is also noted by art historians, and this sensibility often pervades his visual art. There's a rhythmic quality to his compositions and a symphonic grandeur to some of his more dramatic pieces, suggesting a cross-pollination of artistic disciplines that was characteristic of the Symbolist ethos. Artists like James Ensor or Edvard Munch, though distinct in their styles, also shared this interest in conveying deep psychological states and often drew on non-visual arts for inspiration.
A Dedicated Educator and His Influence
From 1910 until his retirement in 1936, Rudolf Jettmar served as a professor at the Academy of Fine Arts Vienna. In this role, he exerted a significant influence on a generation of Austrian artists. He taught graphic arts and also led courses for women artists, which was particularly important at a time when opportunities for female artists were still limited. His dedication to teaching ensured that his technical knowledge and artistic vision were passed on to his students.
Among his notable students were Karl Rothaug (with whom he also collaborated), Wilhelm Landsmann, and Oskar Mulley, whom Jettmar specifically taught etching techniques. Ivo Saliger also studied etching under his tutelage. Another artist mentioned as having studied under him is a "Strasser," who reportedly was his student in 1914 while also studying at the Munich Academy of Art, though Jettmar's primary teaching post was in Vienna. The impact of a dedicated teacher like Jettmar can be seen in the subsequent careers of his students, many of whom went on to become recognized artists in their own right, contributing to the diverse artistic landscape of Austria and beyond. His pedagogical approach likely emphasized not only technical proficiency but also the importance of individual expression and intellectual depth, values central to his own artistic practice.
Collaborations, Contemporaries, and Artistic Milieu
Jettmar's career unfolded within a vibrant artistic community. His collaboration with Karl Rothaug on the Meran frescoes is a testament to his ability to work on large-scale decorative projects. As a member of the Vienna Secession, he was in direct contact with its leading figures like Gustav Klimt, whose own work was evolving from Art Nouveau towards a more symbolic and expressive style, and designers like Koloman Moser and Josef Hoffmann, who were revolutionizing applied arts.
His Symbolist inclinations connected him to a broader European movement. While directly influenced by Max Klinger, his work can be seen in dialogue with other Symbolists such as Ferdinand Hodler in Switzerland, Franz von Stuck in Munich, or even the more mystical leanings of artists like Jean Delville in Belgium. The intellectual climate of Vienna, with the groundbreaking psychological theories of Sigmund Freud beginning to emerge, also provided a fertile ground for art that explored the inner world and the subconscious, themes central to Symbolism. Jettmar's engagement with literary sources, such as Byron for The Cain Cycle, also places him within a tradition of artists who found inspiration in literature, similar to how Dante Gabriel Rossetti and other Pre-Raphaelites drew from poetry and legend. He was also a contemporary of artists like Egon Schiele and Oskar Kokoschka, who represented the next wave of Austrian Expressionism, building upon the foundations laid by the Secessionists and Symbolists.
Later Years and Enduring Legacy
Rudolf Jettmar continued to work and teach for many years, retiring from his professorship in 1936. He passed away in Vienna in 1939, on the cusp of the Second World War, a conflict that would tragically see some of his work, like The Way of Life, destroyed. Despite the upheavals of the era, Jettmar left behind a substantial body of work that continues to attract scholarly attention and appreciation.
His works are held in various public and private collections. Notably, the Jack Daulton Collection in Los Altos Hills, California, holds a significant number of his pieces, indicating an international recognition of his art. Exhibitions, such as a 2013 show at the Belvedere Museum in Vienna focusing on Austrian Symbolism, have helped to re-evaluate and highlight Jettmar's contributions within this important artistic current. His art, particularly his powerful etchings, remains a testament to a period of intense artistic exploration and a personal vision that masterfully combined technical skill with profound thematic depth. He stands alongside figures like Richard Gerstl or Max Oppenheimer as part of the rich tapestry of early 20th-century Austrian art.
Conclusion: An Artist of Depth and Imagination
Rudolf Jettmar was an artist of considerable talent and intellectual depth. As a painter, and especially as a printmaker, he carved out a unique niche within the Austrian art scene. His commitment to Symbolism allowed him to explore complex mythological and existential themes with a distinctive visual language. His role in the Vienna Secession connected him to one of the most innovative artistic movements of his time, and his long tenure as a professor at the Vienna Academy of Fine Arts ensured his influence extended to future generations.
While perhaps not as widely known internationally as some of his contemporaries like Klimt or Schiele, Jettmar's contributions are integral to a comprehensive understanding of Austrian art at the turn of the century. His mastery of graphic media, his imaginative power, and his ability to convey profound emotional and intellectual content mark him as a significant artist whose works continue to resonate with their dark beauty and compelling narratives. He remains a key figure for anyone studying the rich interplay of Symbolism, Secessionism, and the enduring power of myth in modern European art.
