“New World – Sunrise”, oil on canvas, 85 x 65 cm, 2021; “From the New World” series of paintings by Maryleen Schiltkamp, based on Dvorak’s Ninth Symphony.
Framing the Unknown*
Antonín Dvořák’s 9th symphony, “From the New World”, is perhaps his most famous and recognizable work. Composed in 1893, the symphony in four movements combines two facets that are prevalent for the period. The first being a departure from the “classical” composition style for symphonies, though not completely disregarding rules and form, but the emphasis is placed on the momentum of the music and its romantic storytelling. The second facet which is prevalent in the symphony is the use of folkloric themes. In the case of the 9th symphony both American and Slavic melodies and rhythms can be found scattered across the four movements.
Though one cannot immediately designate which are inherently American or Slavic, they can be sensed. It is in this approach that Maryleen Schiltkamp captures the essence of the symphony in her series with the same name.
Schiltkamp states that when she heard the symphony in concert that she was captured by the sounds which evoke images of hope, nostalgia, grief, optimism, in short, all intangible virtues that one feels when thinking, or visualizing, ‘a new world’.
To picture a new world is of course easier said than done. One could argue that in conceptualizing a new world that one departs from the old world and always takes something from it to the new. In that sense we are grounded in our background and origin but should try to make the transcendental leap towards that which is bigger than the personal experience and seek the objective truths in universality.
There is undeniably something frighting about the unknown. Since we fear that which we do not know, it is thus a fool’s folly to disregard uncertainty, or at least the feeling of uncertainty, when conceptualizing a new world.
As Schiltkamp states, “The forces at stake during such an encounter surpass our sense of reason; these are moments in life that bring you in an almost trance-like state, take you beyond yourself to a realm which is not from this world.”
In relation to Dvořák’s 9th symphony these series of paintings reflect the overwhelming and cathartic power of the symphony and the “utopian” metaphor of a new world.
At first glance one would be hard pressed to designate these paintings within just one artistic style. One could argue that it is inherently abstract, another would argue that it is geometrical, and another would say that it is neither but, in a sense, cubistic in its nature.
There it is that we, in similar fashion to Dvořák, can state that Schiltkamp uses both the most classical rules and forms as well as departing from these and seeking new avenues of expression. In the most classical philosophical esthetic view, it is argued that the forces and phenomena of nature make up the ultimate beauty, often called “the sublime”. In the case of Schiltkamp’s series “From the New World”, we, the audience, are placed in an unfamiliar situation. One that we cannot easily locate nor designate.
In spite of our inability to localize, our gaze is guided through fractured light that comes shining through the crystal. In this we can appreciate the freedom and liberty that Schiltkamp gives to her audience. It is now the artist who asks the question to the audience: Do you follow the light or do you turn away from it.
Alexander Kraft van Ermel, 2024
Alexander Kraft van Ermel is philosopher and pianist.
*This text was published in the Cahier ‘From the New World’ for the exhibition of Schiltkamp’s paintings at ‘White Box’, Roelof Hartstraat in Amsterdam, in September 2024.
The Cahier is a publication on Maryleen Schiltkamp’s series of paintings based on Dvořák’s Ninth Symphony. Produced by the LiveART Foundation, this Cahier initiates, and is part of, several publications on topics of Maryleen’s paintings and is on sale during LiveART Foundation events for €20, – and by email request:
