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With the Faculty Paintings of Philosophy, Medicine, and Jurisprudence, Klimt not only developed into a radical protagonist of modernism, but also defined and defended his personal freedom as an artist in the face of ongoing criticism and rejection.
In Klimt put an end to the affair surrounding the Faculty Paintings, as he resigned from the state commission and, with the help of the Lederers, paid back the fee he had received by then.
The genesis of Klimt’s Faculty Paintings for the auditorium of the Imperial-Royal University of Vienna began with their commission in and extended over many years, with numerous preliminary studies, alterations, and additions, until their completion around The artist’s transformation from Historicist decorator to internationally recognized Symbolist manifested itself in this work.
Klimt thus increasingly detached himself from the design sketches approved in while also distancing himself from the client’s understanding of art and morals. The paintings caused veritable scandals when they were first presented.
The first work to be shown publicly was Philosophy (–, destroyed by fire at Immendorf Castle in
Klimt et les femmes
Dans l’œuvre de Klimt, la femme est une obsession. C’est grâce aux portraits qu’il faisait des grandes bourgeoises de Vienne qu’il s’est rendu célèbre et qu’il a pu vivre de son art. C’est en présentant au grand public des corps nus, voluptueux de modèles issus souvent des bas-fonds viennois qu’il a fait scandale. Beaucoup de critiques veulent faire de la femme de Klimt une femme fatale, arrogante et effrayante. En effet, Klimt a peint principalement des femmes, et s’il peignait des hommes, ceux-ci leur étaient souvent subordonnés. Pourtant, Klimt dévoile également une autre image de la femme, ses rêves inconnus et la beauté de son corps qu’elle tient pourtant caché. La femme de Klimt est plurielle, notamment parce que de nombreuses femmes ont compté pour lui dans sa vie privée. Au centre de nombreuses aventures, il fut le père illégitime de dizaines d’enfants. Dans son atelier, il était toujours entouré de deux ou trois modèles qui déambulaient autour de lui. Prônant une vie de liberté, il a pourtant vécu toute sa vie auprès de sa vieille mère veuve et de ses sœurs. Il est resté toute sa vie en concubinage avec Emilie Flöge, une femme libre qui ten
Bildnis Fritza Riedler: Das ein Jahr nach dem Klimt Porträt von Margarethe Stonborough-Wittgenstein entstandene Bildnis Fritza Riedler (recte Friederike Langer, geb. , gest. ) wurde in Mannheim zum ersten Mal präsentiert.
Fritza Riedler Gustav Klimts Damenporträts
Im Bildnis Fritza Riedler perfektioniert Klimt den geometrischen Bildaufbau, den er im vorangegangenen Bildnis Margarethe Stonborough-Wittgenstein zum ersten Mal anwendete. Nicht nur der Hintergrund ist in geometrische Teile zerlegt, sondern auch die Figur selbst ist in einer Dreieckskomposition angelegt. Dies wird bereits in den Skizzen zu dem Porträt vorbereitet. Klimt stellt die Dame in einem Fauteuil sitzend dar. Eine wichtige Rolle spielt der Sessel, mit dem aus der ägyptischen Hoheitssymbolik entlehnten Horus-Augen-Muster. Dieser wirkt trotz der naturalistischen Falten so stark flächig, dass er mit dem Kleid und der Figur zu einem dreieckigen, ornamentalen Feld verschmilzt. Die Dame trägt ein weißes Kleid mit Rüschen, Volants und Maschen, das aber farblich dem Hintergrund und dem Sessel untergeordnet durch die Einbindung in das Sitzmöbel keinerlei Volumen mehr hat. Dadurch entsteht ke
Portrait of Fritza Riedler, by Gustav Klimt
In Portrait of Fritza Riedler, the treatment of the women's white dresses is very close, as are the geometrical blocks of colour in the background. Fritza Riedler, however, is seated, and here Klimt has let his imagination take over. The armchair in which she sits - perfectly realistic in the preparatory drawings - has virtually disappeared, becoming a two-dimensional outline filled in with g old and silver eye-shaped motifs. The gold and silver are picked up by the small squares dotted across the background wall.
As in the portrait of Margaret Stonborough-Wittgenstein, Klimt has placed a roughly semicircular shape behind Frieda's head. This serves to frame and draw attention to her face, in the same way that Tissot places Miss Lloyd in a doorway. However, the mosaic-like semicircular decoration in the Portrait of Fritza Riedler is more complicated than in the earlier work, and would appear to derive from two sources: Diego Velazquez and Egyptian art. There is a Portrait of Queen Mariana of Austria, formerly ascribed to Diego Velazquez (), in the collection of the Kunsthistorisches Museum in Vienna and the queen's hair
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