Gustav Klimt
The artwork of Gustav Klimt is reminiscent of Freudian
philosophy and the political atmosphere of the early 20th century in
Austria. Unlike Freud, who distanced himself from politics and sought
refuge in his theories, Klimt brought himself closer to politics through
his artwork and was president of the Secessionist movement. Secessionists
believed in a “break with the fathers” reinforcing the political
context of Freud’s Oedipus complex. The movement itself was for
Klimt what political authority was for Freud, fuel for the fire of creativity.
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Before 1897, when the Secession had established
itself with Gustav Klimt as president, Klimt's artwork was merely a
decorative display of artistic talent. The artwork commissioned from
him for the new Burgtheater is unlike any of the many works associated
with his name. |
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Activity:
Click here Google
Image Search and type Klimt in the search box. Next click search
and see what you find. It is highly unlikely that the search will return
the two images above because they are not typical images of the Secession
movement or Klimt himself. |
| The drastic contrast between these earlier decorative paintings and those typical of Klimt reflect Klimt's personal choice to portray the following ideas central to the succession movement: |
"Cultural renewal, personal introspection,
modern identity, asylum from modernity, truth and pleasure, the common
rejection of the nineteenth century's certainties." (Schorske,
pg. 219) |
Klimt's series of portraits of aristocratic Viennese
women are a more typical example of the artwork for which he is known
and which reflect the values detailed above. Each one is exemplary of
the innovative artistic style which the Secession valued so highly.
Their motto, "to the age its art, to art its freedom" is an
idea in accordance with the definition of the modern. |
 "Adele Bloch-Bauer I", 1907. |
 "Fritza Riedler", 1906. |
These paintings are unique because they combine
elements of the real and surreal, breaking free from the constraints
of a genre. The faces of the women are quite realistic while their clothing
is stylized and seems indistinguishable from the background. The two
seem to come from entirely different periods of art. Klimt's brilliance
comes in his decision to combine the two and go against the standards
taught to him in the School of Arts and Crafts. |
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Klimt's "Judith and Holfernes" reinforces
the ideas behind the Oedipus Complex through the medium of painting.
The piece is full of warm colors which detract from the violence of
the scene and display Judith, "fresh from her love slaying of Holofernes
glowing in her quasi-maternal voluptuousness." (Schorske, pg. 224)
As the story goes, Judith slew King Holofernes to free her people from
his strict rule. Although here she is not the Oedipal son, she is the
slayer of the authority, a theme central to the political context of
the Oedipus complex. Klimt proves this idea does not belong to Freud
alone but the community of modern thinkers who have begun to desire
the influence of the authority. They are fighting to become Oedipus,
forgetful that they will soon gouge out their own eyes. |