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By Rogoyska, Jane; Bade, Patrick; Klimt, Gustav
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The vision is chaotic, almost hellish. Its skulls, wrinkled elderly figures and mass of human bodies speak of human suffering, not of its cure. Music I 1895 Bayerische Staatsgemäldesammlungen, Munich 46 47 The viewer’s eyes are drawn inevitably to the two striking female figures at the bottom and top left of the painting. Clearly the figure at the bottom represents Medicine itself – the traditional symbol of the serpent suggests this – but this art nouveau woman, enlaced in gold ornament, looks more like a priestess likely to sacrifice a sick person than to heal them.
Egyptian Art I (Young Girl with Horus) 1890-1891 Kunsthistorisches Museum, Vienna 40 41 The nature of the commission can be easily imagined: The university would be expecting a series of dignified, formal paintings in classical style depicting the wisdom of philosophers, the healing virtues of medicine, and doubtless a statuesque blindfolded female figure holding a pair of scales and representing justice. Portrait of a Woman (Mrs. 1894 oil on wood, 39 x 23 cm Kunsthistorisches Museum, Vienna 42 43 What they got, several years and much hard work later, caused such a scandal that Klimt eventually repaid the advances he had received and took the paintings back.
The seductively half-closed eyes certainly echo many Monroe poses. Woman near the Fire 1897-1898 oil on canvas, 41 x 66 cm Österreichische Galerie, Vienna 58 59 The Secession’s fourteenth exhibition in 1902 led to yet another scandal. The exhibition centred around Max Klinger’s statue of Beethoven and Klimt had decided to contribute a frieze. The detail shown depicts Lust, Lechery and Excess, three allegorical figures designed to occupy part of the central wall of the room where Klinger’s statue was exhibited.