Werther Sever Milan, 1896 – 1940 Richard Wagner Circa 1930 Grey marble; on an original rectangular marble plinth engraved beneath ‘6470’ 26.7 cm. high; 32.6 cm. high, overall Comparative literature: G. Nicodemi, Werther Sever, Armando Gorlini, Milano, 1939 A. Panzetta, Dizionario degli scultori italiani dell’Ottocento e del primo Novecento, Turin, 1994 A. Panzetta, Nuovo dizionario degli scultori italiani dell’Ottocento e del primo Novecento, Turin, 2003 Richard Wagner, in full Wilhelm Richard Wagner (Leipzig, 1813 — Venice, 1883: Fig. 1), was a German dramatic composer and theorist whose operas and music had a revolutionary influence on the course of Western music either by extension of his discoveries or reaction against them. Among his major works are The Flying Dutchman (1843), Tannhäuser (1845), Lohengrin (1850), Tristan und Isolde (1865), Parsifal (1882), and his epic tetralogy, The Ring of the Nibelung (1869–76). Wagner was regarded as an especially important composer during his time as well as, a matter of decades later, by ascendant European fascist dictatorships. His operas, writings, political views, beliefs and less-than-orthodox lifestyle made him a contentious character: following his death, debate about his opinions, his ideas and their interpretation, particularly in Germany under the totalitarian dictatorship of Adolf Hitler, persisted. However, he is also recognised by musical historians as one of the instigators of the rise of truly modern classical music. Under the Europe fascist regimes of the early 20th century, it can only seem plain how Wagner’s music might have stuck a chord with the ideals and beliefs that were coming into prominence at the time, especially when one considers his extolling the virtues of German nationalism and his hardline views on Jews and Judaism. However, one cannot discount the incredible impact that Wagner’s music had. His Ride of the Valkyries, famously used in Francis Ford Coppola’s epic Apocalypse Now (1979), utilises a powerful pomp and majesty that is also prevalent in the works of fascist era artists such as Adolfo Wildt (1868 – 1931). The former’s portrayal of the Italian fascist dictator Benito Mussolini in the form of a marble mask - similar to a death mask – and dating from 1924 (in which one can see a clear resemblance in style and execution with the present bust: Fig. 2) clearly demonstrates the overlapping nature of politics and the arts. His pupil Werther Sever, to whom the present mask is undeniably attributed, was no less dramatic and uncompromising in his depiction of Wagner, which shows all the strength and fervour that one may sense in his music. It’s sharply carved features in dark grey marble are powerful and domineering, and seem to keep Wagner’s expression in an unresolved state between deep thought and silent fury. His strong, tense, brow hangs over empty eye sockets who’s clearly cut ridges lie on either side of his overbearing nose. The mask also features the front of Wagner’s hair which asymmetrically frames his face: from the stylised windswept wisp above his brow, to the prominent

sideburns emerging from behind his cheeks. The face’s simplicity, yet sophistication, allows one to see the Secessionist and Art Nouveau influence that Sever clearly inherited from his teacher, Wildt. Sever’s authorship of the Wagner is confirmed by the unmistakeable stylistic comparisons one can draw from other works within his corpus, such as his busts of Thomas Edison (Fig. 3) and Roald Amundsen (Fig. 4; respectively, Societá Edison, Milan and National Museum, Oslo; all illustrated in Nicodemi’s monograph on the artist dating from 1939). In each instance one can see a similar attention to the treatment of the facial features: strong, knitted, foreheads; loosely modelled eyebrows; prominent noses; delineated cheeks; hollowed-out eyes accentuated by highly defined eye lids and slightly swollen bags; powerful, squared chins; and fleshy lips described with a very idiosyncratic outline. These facial features all exacerbate an overwhelming sense of emotional display. Faces which imply the character and nature of the people they are depicting. Wildt’s marble mask of Arturo Ferrarin (Private collection), which bears many stylistic similarities to the Wagner, is no different. Ferrarin (1895 – 1941) was a pioneering aviator from Italy who served during World War I, and in 1920 became famous flying with an Ansaldo SVA.9 from Rome to Tokyo. His strength, determination and perceived heroism are all portrayed in the elegant carving of his proud and self-confident face. Similarly, Wagner’s grimly stern and focused visage gives the viewer a sense of his single-mindedness and creative genius. Despite the style and quality of Sever and Wildt’s sculpture, beloved by the fascist regimes of 1920s and 30s Europe, one cannot say that they were necessarily sympathetic towards these political views. The same could be said of Wagner who, seen with today’s eyes, clearly expressed some very controversial views, though would not have necessarily been in favour with how his music and theories were later appropriated by Nazi Germany. Simply because Sever worked under Mussolini’s tenure did not point to him being a fascist sympathiser, as there were few that would have been willing to speak out in such an inhospitable environment. For example, when Arturo Toscanini (who had previously run as a Fascist parliamentary candidate in 1919 and whom Mussolini had called "the greatest conductor in the world") notably refused to conduct Giovinezza, the official hymn of the National Fascist Party, he was subsequently attacked and beaten by “blackshirts”, which resulted in him fleeing the country.

Fig. 1 Franz Hanfstaengl (1804-1877), Richard Wagner, 1871 Location unknown

Fig. 2 Adolfo Wildt, Benito Mussolini, 1924 Marble, Galleria Nazionale d'Arte Moderna, Milan

Fig. 3 Werther Sever, Thomas Edison, before 1939 Marble, Societá Edison, Milan

Fig. 4 Wether Sever, Roald Amundsen, before 1939 Bronze, National Museum, Oslo