Franz Liszt and the physiognomic ideal in the nineteenth century

Abstract

Franz Liszt's visage is one of the most frequently encountered images in nineteenth-century music iconography. The reasons for this popularity are manifold, and include the nineteenth century fascination with physical appearance, especially with that of the face. This fascination was encouraged by, and systematized within, the pseudo-sciences of physiognomy and phrenology. These belief systems provided a powerful set of visual cues within nineteenth-century European and American portraiture, with musicians forming one of several subtypes of sitter. Liszt's face was particularly appealing to portraitists of his day because of his physiognomically striking features, although he did not conform in all respects to the ideal image of the sensitive and intellectual artist, and several representations of him show "corrections" of his features according to the precepts of physiognomy and phrenology.