Gustav Klimt: The University Paintings

 

These three ceiling paintings, created between 1894 and 1907, are the most important of the first half of Klimt's career. These paintings were not so important in relation to the evolution of Klimt's style, although they did play a part in that as well, but rather they are more important because they demonstrated Klimt's undying belief in artistic freedom, something which he brought with him to the Secession and carried with him fought for until his death in 1918.

Although the first of these paintings wasn't displayed until the year 1900, the affair began in 1894, when the Ministry of Education commission Klimt and Franz Matsch to decorate the Great Hall of the University of Vienna with allegorical paintings. The theme was to be the Triumph of Light Over Dark. Matsch created the centerpiece, entitled Theology, and Klimt created the three secular works, Philosophy, Medicine, and Jurisprudence. The plans for the project were submitted to the Ministry of Education in May 1898, and once approved, Klimt declared that they were "ready to introduce modifications subject to preservation of artistic freedom" (1) The first of the three paintings, Philosophy, was displayed at the Secession's seventh exhibit, from March to May of 1900. Originally, professors of the University complained that the painting was not in harmony with the style of the building it was to be placed in. One professor claimed he was not opposed to nudity or freedom of the arts but to ugliness. Despite this criticism the painting won a prize at the Exposition Universelle in Paris.

Philosophy

The Viennese art critic, Richard Muther, after seeing the painting in 1900, wrote, "Out of his own, independent pondering he has created a work in which the whole weight of thought, the whole colouristic nervosity of our times are embodied. The Heavens open. Golden and silver stars twinkle. Points of light shimmer. Naked forms waft hither. The green mist gathers itself into tangible forms. A fiery head, wreathed in laurels, regards us with large, earnest eyes. Science struggles to attain the source of Truth, which remains none the less imponderable Sphinx. We aspire to lift the veil, dare to take flight amidst the clouds. But the feeling of ignorance drags us back to earth." (2) This description serves to show just how large an impact Klimt's artwork was having on Vienna at the time. The last sentence of this quote explains the mood of the painting- that society is afraid to unveil itself, to move on. Klimt's critics believed this pessimistic view had no place in allegorical painting. They also believed the allegory itself was too far off and not related to Philosophy. The painting also holds its place in Klimt's progression stylistically. Klimt leaves the entire right side of the canvas rather empty and mildly abstract, showing signs of the style to come.

Medicine

The second painting, Medicine, was displayed at the Secession's tenth exhibit, from March to May of 1901. This painting was greeted with criticism as well. Again, the unfamiliar form of allegory, and the lack of obvious symbolism frightened the critics. The painting was very similar to Philosophy, only everything seemed to be reversed. In Medicine, the mass of people is on the right instead of the left, and the female figure, which in Philosophy was at the very bottom of the painting, is now at the top, and is unveiled and naked, floating through the sky. Medicine received further criticism that Philosophy did not; it was considered pornographic. The naked form in the upper left corner was asked to either be clothed or turned into a man, as the University or many of the critics did not support Klimt's interest in female sexuality. The overall impression of this painting is very similar to that of Klimt's 1908 work, Death and Life. One side is bleak, with only one figure, while the other side is full of intertwining people, young, old, and even dead.

Jurisprudence

Klimt had originally intended the third painting, Jurisprudence, exhibited in 1903, to represent Justice, a symbol of the liberal Austria of the time. But after the criticism of his last two pieces, he changed the painting to depict in the upper section "Truth, Justice, and Law," looking down on a condemned man, surrounded by three naked women. Here, Klimt perhaps purposefully makes his painting a controversial one. After receiving criticism for this painting, Klimt finally took action against those who were not supportive of his artistic freedom. He asked the Ministry if he could keep his paintings if he returned his payment for the commission. They initially refused, and urged him to finish the paintings, even though both parties knew that they would not be used. In a rare interview, Klimt said on the matter, "I am not very vulnerable to criticism in general, but I become more vulnerable when I feel that those who have given me a commission are not satisfied with my work." (3) Klimt then demanded that art and the artist in the future should remain free of all state interference. He ended the interview with the statement. "I shall not hand over my pictures unless driven to it by force." Two weeks later the Ministry agreed to let Klimt keep the paintings in exchange for their payment. In 1945, all three paintings, which were being stored in southern Austria because of the war, were destroyed in a fire.

 

Click here to go back to the main page.