Initially intended as a sequel to his 1908 fairy tale for young readers
The Dreaming Boys, Oskar Kokoschka’s (1886–1980) series of lithographs
Columbus Bound developed into an autonomous work. After it had been published under the title
The White Animal Slayer in the magazine
Die Fackel, Kokoschka suggested the release of a reworked and renamed version to the Berlin-based publisher Fritz Gurlitt (1854–1893). Like
O Eternity, Thou Word of Thunder and
The Chinese Wall, this series of graphic works is an expression of Kokoschka’s obsession with and love for Alma Mahler (1879–1964). Created in 1913, the twelve lithographs show the artist as Christopher Columbus who follows his lover – depicted here with Mahler’s features – on a path that leads to his own destruction. Kokoschka again explored the seething conflict between the sexes, which he had already discussed in his drama
Murderer, Hope of Women, and infused his compositions with personal memories of his relationship with Mahler. The illustrations have nothing to do with the historical figure of Christopher Columbus (1451–1506). Rather, the title alludes to the movie
The Arrival of Columbus, which Kokoschka had watched together with Mahler in the summer of 1912.
AS, 2023