Abbildung 4: Susanne Schinkel, Salon in Wahnfried mit Wagner am Schreibtisch,1878, Aquarell. Dominierende Farbe ist Rot. Später kam eine Wandbespannungaus meerfarbener grüner Seide mit chinesischen Ornamentmusterndazu. (Richard Wagner Nationalarchiv Bayreuth)Illustration 4: Susanne Schinkel, Salon in Wahnfried with Wagner at HisDesk, 1878, watercolour. The dominant colour is red. A wall covering in seagreensilk with Chinese ornamental patterns was added later. (Richard WagnerNationalarchiv Bayreuth)Illustration 4 : Susanne Schinkel, Salon à Wahnfried avec Wagner à sa tablede travail, 1878, aquarelle. Le rouge domine. La pièce a plus tard était tendued’une soie vert marin ornée de motifs chinois. (Richard Wagner NationalarchivBayreuth)– 48 –
page. 23 There is a remarkable analogy of the pink room design with oneof the so-called Rosenstock pictures which young Isolde painted in 1880for her father Richard Wagner, showing an intimate, private scene: the<strong>com</strong>poser in his private study in Naples lying on a chaise longue of greenfabric with purple dots, with the whole room rendered in a powerfulshade of pink (fig. 5). 24If this colouration is perhaps a little odd for an entire room, for a man‘sclothing it is downright eccentric. As mentioned above, these coloursappear regularly in the orders for fabrics through Bertha Goldwag, whoalso made clothes for Wagner. Goldwag describes his s<strong>art</strong>orial preferences:„He wore satin trousers, but also regular pants with a matchingjacket.“ 25 The correspondence contains precise specifications, accordingto which Wagner did actually sometimes wear pink in his private life, asvarious entries in Cosima‘s diary also confirm. Speaking about his pinkgarments, Wagner said „that is where I feel most <strong>com</strong>fortable.“ 26 And onanother occasion he talks about the reddish violet of his gown, the colourof the king of France, which he also wanted to have trimmed withgold embroidery. 27The letters written by Wagner to Bertha Goldwag are the richest sourceon the subject of colours, at least for the later years. And Wagner‘s lifeappears to have been quite colourful. We see the whole spectrum ofcolours, even if the preference for various shades of pink, violet, lilacand blue is also evident. We can deduce this not only from the choice ofcolours, but also from the quantities ordered. Wagner would regularlyorder large quantities of „heavy satin in dark, fiery pink“ 28 or, for example,one hundred cubits of pink cotton fabric. 29 It appears to have beenimportant to Wagner to be properly colour-coordinated from the top ofhis head to the tips of his toes, because he always ordered the samefabrics and colours for jackets, trousers and even shoes. An order placedwith Bertha Goldwag in 1865 serves as an example: „1. One dressinggown – pink / ditto blue / ditto green / one quilted dressing gown indarker green. 2. Jackets: 1 pink / 1 in the pale yellow and in the lightgrey [...] 3. Trousers: 1 pink. 1 pale yellow, 1 light grey. – Also another1 in dark green, like the quilted dressing gown. 4. Boots: 1 white / 1pink / 1 blue. 1 yellow. 1 grey. 1 green. Also 2 pairs of fur boots (greyand yellow). 5. Blankets: 1 white – embroidered – pink trimming, linedwith heavy pink satin / 1 blue – blue trimming – white lining / 1 pink– pink trimming – pink lining / 1 blue bed cover. 6. Cushions: 2 large,white with embroidery: fully trimmed, the one in pink the other in yellow… Please bring large quantity of the beautiful heavy pink satin – 20to 30 cubits – otherwise, some beautiful flowers and lace.“ 30 It was amagnificent bouquet of colours, patterns and roses which he describedprecisely with such words as „lighter blue, definitely not darker“, „paleyellow, not loud“ or „dark pink, not to be confused with the earlier violet-pink“.Wagner was a scintillating personality, an eccentric character who enjoyedlife and loved colours. He expressed this connection clearly in 1850in a letter to his friend Theodor Uhlig: „If you want a life in just blackand white, you can have it for as long as you want. But if you want realcolour in your life, then its length is no longer any of your business.“ 31All his life he was fascinated with colour. In his early overture in B-flatmajor, for example, he wanted to give the „reader of the score“ an „energeticplay of colours“ by notating the brasses in black ink, the string– 49 –
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