DOCSLIB.ORG

Symbol and Surface

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Symbol and Surface The Left Atrium Lifeworks Symbol and surface his year’s summer blockbuster of- This summer in Ottawa, the alluring sides of city buses and appears in fully T fering from the National Gallery red-haired woman Klimt portrays in naked, pregnant splendour in newspa- of Canada is Gustav Klimt: Modernism in Hope I levels her frank gaze from the per and magazine advertisements. Evi- the Making. Organized exclusively by dently (and pardoning the pun), the the gallery, the show is the first com- hope would be that Hope I will entice prehensive North American retrospec- visitors out of the sun and into the tive of the work of the Austrian artist gallery. This reviewer had the addi- who lived from 1862 to 1918 and was tional hope that the show would the most renowned member of the fin- provide some deeper insights into de-siècle Art Nouveau movement Klimt’s art. known as the Viennese Secession. The Despite the advertising frenzy sur- exhibition of 36 paintings and 90 draw- rounding the show, Gustav Klimt: Mod- ings reunites some the artist’s best- ernism in the Making is a serious attempt known works, including the National at a scholarly assessment of the impor- Gallery’s own Hope I (1903) and its tance of the artist’s work. More than golden successor Hope II (1907–08), three years in the making, the exhibition with many lesser-known ones, such as a is an ambitious undertaking for the Na- set of landscapes Klimt executed during tional Gallery that, in the end, is not en- summer holidays on Lake Attersee and tirely successful. Although it affirms a selection of remarkably graphic erotic Klimt’s extraordinary abilities, it isn’t drawings. entirely convincing in its presentation of Klimt’s most familiar paintings com- the motives and meaning in his work. bine naturalistic depictions of beautiful, Indisputably, the artist’s hand daz- mostly naked women with ornately pat- zles. Klimt revels in his exploration of terned and shimmering gold spaces. the possibilities of paint. His earlier His highly decorative, aesthetically ap- Toyota Municipal Museum of Art, City, Japan paintings are rendered with the Gustav Klimt, Portrait of Eugena Pri- pealing work is frequently reproduced mavesi, 1913–1914. Oil on canvas, smooth, glass-like surfaces characteris- on posters, placemats, coffee mugs, 140 cm × 85 cm. tic of Academic painting; later ones greeting cards and other ephemera. are textured with loose, Impressionist CMAJ • SEPT. 4, 2001; 165 (5) 617 De l’oreille gauche brushwork. The landscapes are their symbolic meaning. However, the uniquely executed in the more con- highly decorative nature of the work it- trolled Pointillist style of the French self constantly undermines the impact painter Seurat. Drawings such as Em- of its deeper meaning. Even contempo- bracing Couple (1901–02) are further ev- rary critics remarked on “the conflict idence of his outstanding draughtsman- between Klimt’s luxuriant manner — ship. Klimt’s ability to render three- with its emphasis on surface and sheen dimensional forms with an economy of — and the intended profundity of his line recalls the work of Ingres, who was allegories.”1 This conflict continues to celebrated for his drawing ability in be debated and is by no means resolved early 19th-century France. Clearly, in the current exhibition. Klimt’s innate talent and his training at Another barrier to understanding the Kunstgewerbeschule (the school of Klimt’s work is the decision by the applied arts in Vienna) between 1876 show’s organizers to present the works and 1883 provided him with the means with minimal contextual information. to produce work of outstanding quality The impetus for this comes from and earned him many commissions and Klimt’s own statement, reproduced at patrons. the entrance to the show, that “whoever Although Klimt’s technical virtuos- wants to know something about me as ity is undeniable, it is difficult to come an artist — and that is the only thing to terms with the depth of meaning in that matters — must look attentively at his art. Heavily influenced by late 19th- my paintings and try to glean from century Symbolism, Klimt makes alle- them who I am and what I want.” gorical content an integral component Unfortunately, restricting the scope of his work. In Hope I, “Death” and of the exhibition to information that is three grotesque heads represent the ug- present in the work itself leads to little liness in the world, while “Hope” and understanding of how Klimt’s art relates “Beauty” are found only within the to that of his peers, especially those in- pregnant woman. In keeping with the volved with the Viennese Secession, and artist’s intentions, the paintings must be how it was perceived by his audiences. interpreted with a consideration of For example, even though the show al- ludes to controversies regarding the public acceptance of Klimt’s work (such as those associated with the exhibition of Hope I), it doesn’t provide enough background information to convey a National Gallery of Canada, Ottawa clear sense of the controversy. In the Gustav Klimt, Hope I, 1903. Oil on canvas, 189.2 cm × 67 cm. same vein, it is hard to grasp the extent to which Klimt’s work was considered controversial, given that most of the the same gallery workers who had paintings included in the exhibition, planned and assembled the show. Now such as Portrait of Eugenia Primavesi that these issues have been resolved, the (1913–1914), were in fact commissioned biggest controversy at this point is not by an enthusiastic and wealthy circle of at all about the art of Gustav Klimt, but Klimt supporters. In the end, the failure about the final number of visitors to the to deal with the questions surrounding exhibition and the impact the negative the contradictions between surface and publicity has had on the National depth in Klimt’s work and those regard- Gallery’s desire for another successful ing its public reception results in a summer blockbuster. somewhat unsatisfying experience for the gallery visitor. Vivian Tors Graphische Sammlung Albertina, Vienna, Austria Ironically, the greatest controversies Ottawa, Ont. Gustav Klimt, Embracing couple, have surrounded the show itself — 1901–1902. Study for the Beethoven those generated by questions of possi- Reference Frieze, Fourteenth Secession, 1902. 1. Braun E. “Klimtomania/Klimtophobia.” In: Bai- Black crayon, 45.0 cm × 30.8 cm. ble Nazi connections with some of the ley C, editor. Gustav Klimt: modernism in the mak- works, and by a long, bitter strike by ing. Ottawa: National Gallery of Canada; 2001. 618 JAMC • 4 SEPT. 2001; 165 (5).
Load more

Recommended publications
  • International Society of Barristers Quarterly
    International Society of Barristers Volume 52 Number 1 UNFINISHED BUSINESS OF THE TWENTIETH CENTURY: THE QUEST FOR THE RECOVERY OF NAZI-LOOTED ART Donald Burris WHOSE ART IS IT, ANYWAY? E. Randol Schoenberg DEMOCRACY IN THE BALANCE: THE ESSENTIAL ROLE OF DEMOCRATIC INSTITUTIONS AND NORMS Sally Yates MAGNANIMITAS: THE WONDER OF YOU AND THE POWER OF THE TEAM Bill Curry Quarterly Annual MeetIngs 2020: March 22–28, The Sanctuary at Kiawah Island, Kiawah Island, South Carolina 2021: April 25–30, The Shelbourne Hotel, Dublin, Ireland International Society of Barristers Quarterly Volume 52 2019 Number 1 CONTENTS Unfinished Business of the Twentieth Century: The Quest for the Recovery of Nazi-looted Art . 1 Donald Burris Whose Art Is It, Anyway? . 35 E. Randol Schoenberg Democracy in the Balance: The Essential Role of Democratic Institutions and Norms . 41 Sally Yates Magnanimitas: The Wonder of You and the Power of the Team . 53 Bill Curry i International Society of Barristers Quarterly Editor Donald H. Beskind Associate Editor Joan Ames Magat Editorial Advisory Board Daniel J. Kelly J. Kenneth McEwan, ex officio Editorial Office Duke University School of Law Box 90360 Durham, North Carolina 27708-0360 Telephone (919) 613-7085 Fax (919) 613-7231 E-mail: [email protected] Volume 52 Issue Number 1 2019 The INTERNATIONAL SOCIETY OF BARRISTERS QUARTERLY (USPS 0074-970) (ISSN 0020- 8752) is published quarterly by the International Society of Barristers, Duke University School of Law, Box 90360, Durham, NC, 27708-0360. Periodicals postage is paid in Durham and additional mailing offices. Subscription rate: $10 per year. Back issues and volumes through Volume 44 available from William S.
    [Show full text]
  • Japanese Aesthetics and Gustav Klimt: in Pursuit of a New Voice Svitlana Shiells
    Strand 2. Art Nouveau and Politics in the Dawn of Globalisation Japanese Aesthetics and Gustav Klimt: In Pursuit of a New Voice Svitlana Shiells Abstract At the end of the nineteenth century, Japonisme—an artistic lingua franca—became one of the most organic, overarching components of Gustav Klimt’s new art. This paper draws parallels between Gustav Klimt’s Portrait of Sonja Knips and It ō Jakuch ū’s print Golden Pheasant and Bamboo in Snow . The discovery of an unexpectedly close dialogue between Klimt and Jakuch ū and the striking similarity of the formal language of the two works supports the paper’s thesis that It ō Jakuch ū’s print is the primary source of influence behind the conception and execution of the portrait and, by extension, that Klimt’s engagement with Japanese stimuli is one of the main engines behind his creative pursuit, starting at the end of the 1890s. This discovery challenges preconceived notions and existing concepts and illustrates the impossibility of understanding Klimt’s heritage comprehensively and adequately without examining the role of Japonisme in it. Keywords: Gustav Klimt, Japonisme, It ō Jakuch ū, the Vienna Secession, ukiyo-e prints. 1 In the wake of the World Fair of 1873 in Vienna, a strong wave of Japonisme permanently re- shaped the capital of the Austro-Hungarian Empire. According to Hermann Bahr, the Viennese encountered the presence of “Japonisme in all the arts,” which were “impossible to understand without bearing in mind the influence of Japanese art.” 1 Japonisme indeed became a Zeitgeist in fin de siècle Vienna and, in the visual arts, Gustav Klimt was its main advocate.
    [Show full text]
  • SYMBOLISM of the SERPENT in KLIMT's DRAWINGS Antonela
    SECTION: LANGUAGE AND DISCOURSE LDMD 2 SYMBOLISM OF THE SERPENT IN KLIMT’S DRAWINGS Antonela Corban, PhD. “Al. I. Cuza” University of Iaşi and University of Burgundy, Dijon Abstract. The theme of the serpent repeats and undergoes constant reinterpretation in many of Klimt’s paintings, the author often considering the significance conferred to it by tradition, yet adding personal elements as well in its pictorial approach. The purpose of this article is to indicate and analyze the very paintings in which Klimt treats the theme of the snake from the perspective of its potential significations. To start with, we shall focus on the analysis of the signification of the snake/ serpent symbol in various cultural and religious areas and we shall insist on the ambivalent character of this symbol (the serpent could be associated with both life and death, being a creature that triggers both fear and fascination). Out of the many interpretations associated with the symbolic myth of the serpent, we shall choose only those related to Klimt’s work, noticing that the artist copes, each and every time, with a different signification of it. A first meaning the painter considers is that of creative wisdom, based on intelligence, knowledge and power – Asclepius’s serpent (in Medicine and Hygeia) or Athens’ serpent (Pallas Athene). On the other hand, it may represent the poisonous intelligence associated with cunning and envy, as in Jurisprudence, in Envy or his late, unfinished work, Adam and Eve. It could be about the complex embodiment of natural forces (benevolent, as the dragon from Tragedy, or hostile, as the Echidna – like monster, together with Typhon, the winged one, in Beethoven Frieze).
    [Show full text]
  • Egon Schiele's Place in Wittgenstein's Vienna
    FIG. 1 | EGON SCHIELE A dialogue between Allan Janik and Carla Carmona Tod und Mädchen (Mann und Mädchen) | 1915 Death and the Maiden (Man and Girl) Belvedere, Wien | Vienna EGON SCHIELE’S PLACE IN Allan Janik: It is very hard to know where to begin because the story I WITTGENSTEIN’S VIENNA want to tell is a long one. And it is important that it is a long one. About half a year after the book Wittgenstein’s Vienna1 appeared, I was in Innsbruck and I was being sent the reviews of Wittgenstein’s Vienna by our literary agent. There was a review in which the reviewer claimed that ours was an amazing book with all sorts of innovative aspects, for example, he found exciting the way we as philosophers took up art history. He added that it was a great pity though that so much space was devoted to Gustav Klimt and so little to Egon Schiele. That was sometime around the beginning of 1974. I didn’t have the slightest idea what that might have meant, but because it was unusual and not the kind of comment that I expected, it stayed in my head for a very long time. I began to get some kind of an idea of what I had missed out then, what I had to miss out on, because you have to remember that when I was here in Vienna in 1969 you could more or less read all the books you could find in a bookshop on art in Vienna c. 1900 in an afternoon.
    [Show full text]
  • Salfellner Klimt 11
    © Vitalis, 2019 Translated from the CONTENTS German by Rachel Ward I. THE PAINTER FROM VIENNA .........................................................5 Produced in the European Union Childhood in the Suburbs ...............................................................8 All rights reserved Art College ......................................................................................9 ISBN 978-3-89919-548-4 Pain and Gain................................................................................11 Success with the Künstlercompagnie..............................................14 www.vitalis-verlag.com Painting in the Old and New Burgtheater......................................18 Work for the Museum of Art History ............................................18 German Edition The Studio in Josefstädterstrasse ....................................................19 978-3-89919-547-7 The End of the Company ..............................................................24 French Edition Off to New Pastures.......................................................................25 The Secession ................................................................................28 978-3-89919-549-1 VER SACRUM...............................................................................32 Spanish Edition Exhibitions in the Secession...........................................................34 978-3-89919-550-7 The Scandalous Faculty Paintings..................................................36 The Beethoven Frieze.....................................................................42
    [Show full text]
  • MASTER Woman in Gold 9 July
    FOR YOUR CONSIDERATION BEST ORIGINAL SCREENPLAY Alexi Kaye Campbell WOMAN IN GOLD Written by Alexi Kaye Campbell 1 INT. KLIMT’S STUDIO, VIENNA. DAY. 1907 During the credits we watch the creation of a masterpiece: GUSTAV KLIMT painting ADELE BLOCH-BAUER, his magnetic muse. Klimt has a larger than life, sexual presence, and there is something almost erotic about the way he paints his model, which the sensual Adele is more than aware of. As his rough hands apply gold-leaf to the canvas, Adele shuffles in her seat. Klimt speaks in German - marked in italics, as it is throughout the script. KLIMT KLIMT (CONT’D) Move to the left a little. Rück ein wenig nach links She does so. ADELE ADELE (CONT’D) Like this? So? Oder so? He walks up to her, touches her just beneath the shoulder, adjusts the angle she is sitting at, then returns to his canvas. As he moves away, she shuffles again. KLIMT KLIMT (CONT’D) You are restless today. Du bist unruhig heute. ADELE ADELE (CONT’D) I worry too much, you know Ich mache mir zu viele that. Sorgen, das weisst du. KLIMT KLIMT (CONT’D) About what? Worüber? ADELE ADELE (CONT’D) The future. Die Zukunft. EXT. ELIZABETHSTRASSE, VIENNA. DAY. 1938 The Bloch-Bauer residence on Elizabethstrasse. HEINRICH and KLAUS, two soldiers in Nazi uniform, stand outside it and start pounding loudly on the front doors. Standing behind them in civilian clothes is the Gestapo agent, FELIX LANDAU. HEINRICH HEINRICH (CONT’D) Open the door! Öffnen Sie die Tür! EXT.
    [Show full text]
  • Klimt and the Women of Vienna's Golden
    KLIMT AND THE WOMEN OF VIENNA’S GOLDEN AGE KLIMT AND THE WOMEN OF VIENNA’S GOLDEN AGE 1900–1918 Edited by Tobias G. Natter Preface by Ronald S. Lauder, foreword by Renée Price With contributions by Marian Bisanz-Prakken Tobias G. Natter Angela Völker Emily Braun Ernst Ploil Christian Witt-Dörring Carl Kraus Elisabeth Schmuttermeier Jill Lloyd Janis Staggs PRESTEL MUNICH • LONDON • NEW YORK This catalogue has been published in conjunction with the exhibition KLIMT AND THE WOMEN OF VIENNA’S GOLDEN AGE: 1900–1918 Neue Galerie New York September 22, 2016 – January 16, 2017 Curator © 2016 Neue Galerie New York; Library of Congress Control Number: Tobias G. Natter Prestel Verlag, Munich • London • 2016949536 New York; and authors Director of publications A CIP catalogue record for this book Scott Gutterman Prestel Verlag, Munich is available from the British Library. A member of Verlagsgruppe Managing editor Random House GmbH ISBN 978-3-7913-5582-5 Janis Staggs Prestel Verlag Verlagsgruppe Random House FSC® N001967 Editorial assistance Neumarkter Strasse 28 The FSC®-certified paper Magnomatt Liesbet van Leemput 81673 Munich was supplied by Igepa Tel. +49 (0)89 4136-0 Book design Fax +49 (0)89 4136-2335 FRONTISPIECE: Gustav Klimt and Friederike Richard Pandiscio, www.prestel.de Maria Beer in Weissenbach/Attersee, 1916. William Loccisano / Pandiscio Co. © Imagno/Getty Images, Hulton Archive Prestel Publishing Ltd. Translation 14-17 Wells Street PAGES 4–5: Emile Flöge and Gustav Klimt Steven Lindberg London W1T 3PD in a rowboat in Seewalchen/Attersee, 1909. Tel. +44 (0)20 7323-5004 © Courtesy Asenbaum Photo Archive, Vienna Project coordination Fax.
    [Show full text]
  • Gustav Klimt's Depictions of Pregnancy
    Scanned with CamScanner 2 TABLE OF CONTENTS LIST OF FIGURES 3 INTRODUCTION 4 Methodological Approach 7 Literature Review 9 Setting the Stage 11 CHAPTER 1: RELIGION FOR THE MODERN AGE 17 Spirit and Flesh 18 Sacred and Profane 22 Artist as Spiritual Leader 31 CHAPTER 2: KLIMT AND CONTEMPORARY SCIENCE 39 Exposure to Scientific Aesthetics and Theories 40 University Paintings 43 Ornament as Crime 55 CHAPTER 3: MODERNITY’S CRISIS OF SELF 60 Individual Identity 61 Collective Identity 69 CONCLUSION 83 FIGURES 89 WORKS CITED 102 3 LIST OF FIGURES Figure 1: Gustav Klimt, Hope I, 1903, oil on canvas, 71” x 26” Figure 2: Gustav Klimt, Hope II, 1907-1908 Figure 3: Unknown, Maria in der Hoffnung, Swabia, early 16th century Figure 4: Koloman Moser, Cabinet in the back in the Waerndorfer’s home, 1906 Figure 5: Gustav Courbet, The Origin of the World, 1866 Figure 6: Joseph Maria Olbrich, Secession Building, 1897-1898 Figure 7: Gustav Klimt, Danae, 1907-1908 Figure 8: Detail from Klimt’s Danae compared with photographs of blastocysts seen by electron microscopy and light microscopy Figure 9: Gustav Klimt, Philosophy, 1900-1907 Figure 10: Gustav Klimt, Medicine, 1900-1907 Figure 11: Gustav Klimt, Goldfish (To My Critics), 1901-1902 Figure 12: Ernst Haeckel, The Evolution of Man, 1879 & Illustrated Natural History of the Animal Kingdom, 1882 Figure 13: Gustav Klimt, Beethoven Frieze, 1902 4 INTRODUCTION Simultaneously known as the golden age and the joyous apocalypse, fin-de-siècle Vienna was a city mired in paradox. Frozen between stifling tradition and blossoming modernity, the city transformed into a battleground of clashing ideologies.
    [Show full text]
  • Gustav Klimt's Work at Peles Castle
    Western Michigan University ScholarWorks at WMU Master's Theses Graduate College 4-1998 Painter and King: Gustav Klimt’s Work at Peles Castle Lucica Curta Follow this and additional works at: https://scholarworks.wmich.edu/masters_theses Part of the History Commons Recommended Citation Curta, Lucica, "Painter and King: Gustav Klimt’s Work at Peles Castle" (1998). Master's Theses. 4210. https://scholarworks.wmich.edu/masters_theses/4210 This Masters Thesis-Open Access is brought to you for free and open access by the Graduate College at ScholarWorks at WMU. It has been accepted for inclusion in Master's Theses by an authorized administrator of ScholarWorks at WMU. For more information, please contact [email protected]. PAINTER AND KING: GUSTAV KLIMT'S WORK AT PELES CASTLE by Lucica Curta A Thesis Submitted to the Faculty of The Graduate College in partial fulfillment of the requirements for the Degree of Master of Arts Department of History Western Michigan University Kalamazoo, Michigan April 1998 Copyright by Lucica Curta 1998 PAINTER AND KING: GUSTAV KLIMT'S WORK AT PELE$ CASTLE Lucica Curta, M. A. Western Michigan University, 1998 Gustav Klimt's work at Pele� Castle, which was unknown until now due to the cultural isolation of Commu­ nist Romania, is the focus of this study. Against the background of Carol of Hohenzollern's life and activities as King of Romania (1866-1914), the castle is viewed as playing an important role in forming the King's new iden­ tity in his new homeland. The eclectic decoration of the castle reflects Carol's life experience and character.
    [Show full text]
  • Edvard Munch's Fatal Women
    3*0c EDVARD MUNCH'S FATAL WOMEN: A CRITICAL APPROACH THESIS Presented to the Graduate Council of the North Texas State University in Partial Fulfillment of the Requirements For the Degree of MASTER OF ARTS By Barbara Susan Travitz Bimer, B.A. Denton, Texas December 1985 @1986' BARBARA SUSAN TRAVITZ BIMER All Rights Reserved Bimer, Barbara Susan Travitz, Edvard Munch's Fatal Women: A Critical Approach. Master of Arts (Art History), December, 1985, 487 pp., 109 illustrations, bibliography, 212 titles. This study is the first comprehensive analysis of the fatal woman motif in the writings and art of Edvard Munch from the early 1890s to 1909. It uses a background of the women in the artist's life as well as the literary and artistic worlds in which Munch participated. Following separate ac- counts of Munch's relationships with five women, the manner in which the artist characterizes each as a fatal woman in his writings and art is dis- cussed and analyzed. Next, the study describes the fatal woman motif in late nineteenth century art and literature. It begins with a discussion of the origin of the Symbolist and Decadent Movements and an ideological exam- ination of the fatal woman motif as it is manifested in the writing and art of these two groups. In addition, it compares Munch's visual manifes- tations of the femme fatale with the manner in which the artist's contemporaries depicted her. Finally, this study describes two groups of men with whom Munch was particularly close: the Christiania Boheme and the Schwarzen Ferkel Circle.
    [Show full text]
  • A Partner in Their Suffering: Gustav Klimt's
    Brigham Young University BYU ScholarsArchive All Theses and Dissertations 2017-06-01 A Partner in Their uS ffering: Gustav Klimt's Empowered Figure in Hope II Hannah Elizabeth Miller Brigham Young University Follow this and additional works at: https://scholarsarchive.byu.edu/etd Part of the Classics Commons BYU ScholarsArchive Citation Miller, Hannah Elizabeth, "A Partner in Their uS ffering: Gustav Klimt's Empowered Figure in Hope II" (2017). All Theses and Dissertations. 6429. https://scholarsarchive.byu.edu/etd/6429 This Thesis is brought to you for free and open access by BYU ScholarsArchive. It has been accepted for inclusion in All Theses and Dissertations by an authorized administrator of BYU ScholarsArchive. For more information, please contact [email protected], [email protected]. A Partner in Their Suffering: Gustav Klimt’s Empowered Figure in Hope II Hannah Elizabeth Miller A thesis submitted to the faculty of Brigham Young University in partial fulfillment of the requirements for the degree of Master of Arts Heather Belnap Jensen, Chair Allen Christenson Martha Peacock Department of Comparative Arts and Letters Brigham Young University Copyright © 2017 Hannah Elizabeth Miller All Rights Reserved ABSTRACT A Partner in Their Suffering: Gustav Klimt’s Empowered Figure in Hope II Hannah Elizabeth Miller Department of Comparative Arts and Letters, BYU Master of Arts Although much of Gustav Klimt’s work is well recognized, his painting Hope II (1907- 1908) has received little attention in academic studies. Rejected by his peers on its initial exhibition, this work was found offensive by even his staunchest supporters. Second wave feminists have also been critical of his painting, finding in it an objectification of women.
    [Show full text]
  • A Modernist Reevaluation of the Enlightenment
    Constructing the Past Volume 14 Issue 1 Article 7 4-2013 Triumph of Light or a Beacon of Hope: A Modernist Reevaluation of the Enlightenment Mallika Kavadi Illinois Wesleyan University, [email protected] Follow this and additional works at: https://digitalcommons.iwu.edu/constructing Recommended Citation Kavadi, Mallika (2013) "Triumph of Light or a Beacon of Hope: A Modernist Reevaluation of the Enlightenment," Constructing the Past: Vol. 14 : Iss. 1 , Article 7. Available at: https://digitalcommons.iwu.edu/constructing/vol14/iss1/7 This Article is protected by copyright and/or related rights. It has been brought to you by Digital Commons @ IWU with permission from the rights-holder(s). You are free to use this material in any way that is permitted by the copyright and related rights legislation that applies to your use. For other uses you need to obtain permission from the rights-holder(s) directly, unless additional rights are indicated by a Creative Commons license in the record and/ or on the work itself. This material has been accepted for inclusion by editorial board of the Undergraduate Economic Review and the Economics Department at Illinois Wesleyan University. For more information, please contact [email protected]. ©Copyright is owned by the author of this document. Triumph of Light or a Beacon of Hope: A Modernist Reevaluation of the Enlightenment Abstract Between 1900 and 1907, Gustav Klimt produced Philosophy, Medicine, and Jurisprudence, three paintings that caused a major controversy in academic circles of Vienna. Representing Modernist thought that had evolved as a progression of the Enlightenment tradition, these paintings, especially Philosophy and Medicine, are philosophical works that correctly interpret and comment upon the role of Philosophy and Medicine as professed by the Enlightenment thinkers.
    [Show full text]