Rebecca SC French 602F2576 MA in German Studies - Rhodes ...

the European Revolution. As the term alone indicates, it promoted the restoration of a political
state of affairs, the “rejuvenation of German monarchies” (Zantop 1987: 578). Amidst the
tensions arising from, on the one hand, the “culmination of the tradition of bureaucratic
absolutism that had been building in most German states for a century or more”, and, on the
other hand, the growing participation by the general public in politics (Sheehan 1973: 583), a
very distinct artistic and cultural moment was developing. Situated directly between the
Romantic and Realist movements, Biedermeier art is first and foremost characterised by its
representatively bourgeois themes and elements. While I do not agree with Vaßen‟s claim
(1979: 12) that the Romantic Movement, particularly its literature, was almost exclusively
dominated by figures from the nobility, it is worth noting that the Biedermeier artist, and in
particular author, came from the ranks of the Bürgertum. Amongst the generally conservative
Bürger, disappointed by the failed political endeavours of their leaders, a sense of political
resignation set in, together with a marked withdrawal into the private sphere – indeed, “Flüchten
aus der Wirklichkeit” (Hanson 1983: 495) would not be too strong a term. Inspiration was
drawn from day-to-day bourgeois life and its aspirations and these were depicted in a decidedly
idyllic and sentimental light. The value in pursuing intellectual and artistic activities for their
own sake rather than for material gain became a characteristic sentiment amongst this class. In
addition to the rising popularity of coffeehouses and theatres as meeting places for like-minded
people, Hausmusik evenings provided an opportunity for more intimate and convivial gatherings,
once again reinforcing the central place of the home in Biedermeier social life. There are
numerous descriptions of such gatherings in Doktor Faustus, particularly as hosted by the Rodde
salon, where a varied and ever-changing selection of guests often gather “um 9 Uhr oder später
zum Musizieren, Theetrinken und Plaudern” (Mann, Th. 1948: 307), the Schlaginhaufens, where
Zeitblom and his viola d‟amore are welcome guests (1948: 425), and the evenings spent at Herr
Sixtus Kridwiß, described as a “Treffpunkt führender oder doch eingeweihter und am geistigen
Leben beteiligter Köpfe” (1948: 554).
This was also the time of the dilettante and the dandy, with a seemingly inexhaustible stream of
works by artists of every genre and competence. (Böhmer 1977: 154ff.) Fashion, in its eternal
striving to elevate itself to an art form, saw some creations more ridiculous than sublime –
Germany itself was not invulnerable to the influence of the English Prince of Dandies, George
Bryan “Beau” Brummel. (Böhmer 1977: 162)
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