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Fertilization Narratives in the Art of Gustav Klimt, Diego Rivera and Frida Kahlo: Repression, Domination and Eros Among Cells

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Fertilization Narratives in the Art of Gustav Klimt, Diego Rivera and Frida Kahlo: Repression, Domination and Eros Among Cells Swarthmore College Works Biology Faculty Works Biology 6-1-2011 Fertilization Narratives In The Art Of Gustav Klimt, Diego Rivera And Frida Kahlo: Repression, Domination And Eros Among Cells Scott F. Gilbert Swarthmore College, [email protected] S. Brauckmann Follow this and additional works at: https://works.swarthmore.edu/fac-biology Part of the Biology Commons Let us know how access to these works benefits ouy Recommended Citation Scott F. Gilbert and S. Brauckmann. (2011). "Fertilization Narratives In The Art Of Gustav Klimt, Diego Rivera And Frida Kahlo: Repression, Domination And Eros Among Cells". Leonardo. Volume 44, Issue 3. 221-227. https://works.swarthmore.edu/fac-biology/158 This work is brought to you for free by Swarthmore College Libraries' Works. It has been accepted for inclusion in Biology Faculty Works by an authorized administrator of Works. For more information, please contact [email protected]. )HUWLOL]DWLRQ1DUUDWLYHVLQWKH$UWRI*XVWDY.OLPW'LHJR 5LYHUDDQG)ULGD.DKOR5HSUHVVLRQ'RPLQDWLRQDQG (URVDPRQJ&HOOV 6FRWW)*LOEHUW6DELQH%UDXFNPDQQ Leonardo, Volume 44, Number 3, June 2011, pp. 221-227 (Article) 3XEOLVKHGE\7KH0,73UHVV For additional information about this article http://muse.jhu.edu/journals/len/summary/v044/44.3.gilbert.html Access provided by Swarthmore College (14 Aug 2015 20:24 GMT) historical perspective Fertilization Narratives in the Art of Gustav Klimt, Diego Rivera a b s t r a c t Fertilization narratives are and Frida Kahlo: Repression, powerful biological stories that can be used for social ends, and 20th-century artists have Domination and Eros among Cells used fertilization-based imagery to convey political and social ideas. In Danae, Gustav Klimt used an esoteric stage of early human embryos to indicate Scott F. Gilbert and successful fertilization and the inability of government repres- Sabine Brauckmann sion to stifle creativity. In Man, Controller of the Universe, Diego Rivera painted a mural of a man controlling an ovulat- ing ovary, depicting Trotsky’s view that society will rationally regulate human fertilization. His former wife, Frida Kahlo, refuted he cell is both a biological “fact” and an artis- King Akrisios of Argos, fearing the this view in Moses: Nucleus T of Creation, wherein she tic interpretation. Flannery [1] has documented that the scien- prophecy that he would be killed tific construction of a cell is an artistic process and that there by his grandson, had locked his painted images of fertilization is no such thing as an uninterpreted cell. Stains, instruments and embryo formation as the daughter in a tower to ensure that ultimate acts of erotic consum- and the wavelengths of light allow us to see certain things no pregnancy could occur. Art his- mation and generation. and not others; and the representation of cells is an ongoing torians have interpreted the rect- process of data accumulation and interpretation. Moreover, angle near Danae’s genitals to be when pictures of cells become widespread throughout society, the symbol of Zeus’s masculinity. they, too, become cultural artifacts and can be used as symbols, Indeed, Klimt used the rectangle as a phallic symbol in other indices and icons [2–4]. paintings during this time, including Lebensbaum (1905–1909) Gustav Klimt (1862–1928), Diego Rivera (1886–1957) and and Der Kuss (1907–1908). Certainly rectangles were part of Frida Kahlo (1907–1954), three artists whose art and reputa- Klimt’s sexual vocabulary. tions often centered on their sexual and political lives, each depicted cellular events associated with fertilization and preg- nancy. Klimt used an early embryonic stage of human develop- ment, the blastocyst, to indicate the successful fertilization of Danae and the victory of creativity over repression. Rivera used Fig. 1. Gustav Klimt, Danae, oil on canvas; 77 × 83 cm, 1907. private collection. the rectangle on the left represents Zeus, while the the ovulating ovarian follicle as an icon of man’s (gendered) circular biomorphic forms in the purple robe are interpreted to be control over nature. And Kahlo saw in the union of sperm and blastocysts [73]. Danae had been imprisoned to prevent her becom- egg the central act of love between two individuals. ing pregnant. Zeus, however, visits Danae, and the prophecy is fulfilled. (Danae’s son, perseus, does accidentally kill akrisios with a discus.) the dating of the painting is not exact [74]. Klimt’s Danae: A successful fertilizAtion of Art And science Gustav Klimt’s Danae is a masterpiece of Secessionist art, rep- resenting the complex interplay of masculinity and femininity, freedom and repression, classicism and eroticism that char- acterized Freud’s Vienna before the Great War. It is also a fascinating instance of interplay between science and art. In Danae, Klimt presented a stylized depiction of the mammalian blastocyst and used this early embryonic structure to show the victory of creativity over repression. This 1907 oil painting (Fig. 1) depicts the impregnation of the beautiful Danae by Zeus, who appears as a shower of golden coins/rain flowing between her legs. Danae’s father, Scott F. Gilbert, (educator), Department of Biology, Swarthmore College, Swarthmore, PA 19081, U.S.A.; University of Helsinki, Finland. E-mail: <[email protected]>. Sabine Brauckmann, (researcher), Science Studies, University of Tartu, Science Center, Tartu University Library, Struve 1, 50091 Tartu, Estonia; EHI Estonian Humanities Insti- tute, Tallinn University, Estonia. E-mail: <[email protected]>. ©2011 ISAST LEONARDO, Vol. 44, No. 3, pp. 221–227, 2011 221 Fig. 2. Figures in Klimt’s Danae (a) compared with photographs of mouse blastocysts seen by electron microscopy (b) and light microscopy (c). ([b] © thomas Ducibella [75]; [c] © Janet rossant [76].) What, however, are the prominent of Vienna, and Hans Przibram (1874– where at sensational theatre premieres. circular biomorphic forms in Danae’s 1944/5), a renowned embryologist who The auditorium was densely packed. purple gown and why are they in the was founder and director of the Vivarium Painters, novelists, and musicians were there, or sent representatives [26]. forefront of the painting? Art histori- in Vienna’s Prater Park. ans have assigned to these “gold filigree Emil Zuckerkandl was the chair of There (more accurately, in the “Volk- disks” a vague Mycenaean character [5] Anatomy and Pathology at the Univer- sheim” Adult Evening Center in Ot- or a purely ornamental function, describ- sity of Vienna. He not only took clinical takring [27]), her academically robed ing them, for example, as “ovaloid shapes and comparative anatomy to new heights husband thrilled his audience by show- between gentle wave-like lines” [6,7]. We [12–14] but also was an exceptional ing, through projected slides, the mi- believe that these biomorphic forms are teacher, who accompanied his lectures croscopic wonders of blood vessels, the indeed embryonic cells, specifically mam- with excellently drawn and accurate illus- epidermis, arteries and brain neurons. malian blastocysts (Fig. 2). This interpre- trations [15,16]. Socially liberal, Zucker- Szeps-Zuckerkandl claimed explicitly tation would complement the idea that kandl was professionally and personally that Klimt’s palette was enriched and Klimt depicted Zeus’s golden shower as involved in promoting university educa- influenced by the microscopic anatomy “chromosome-like biological shapes” [8] tion for women and actively participated shown at Emil Zuckerkandl’s evening or “gilded spermatozoa” [9]. Moreover, in explaining scientific research to soci- lectures (“Gerade Klimts Palette ist von art historians have noticed that the nude ety [17,18]. diesem Anreiz der Sinne bereichert und Danae is confined to a “closed embryonic His wife, Bertha Szeps-Zuckerkandl beeinflusst worden” [28]). oval” [10], referencing the womb, and (1864–1945), one of the most remark- If Klimt had wanted specific knowl- we propose that Klimt was artistically de- able personalities of Viennese society edge of embryos, there was also an- picting blastocysts inside Danae’s uterus, during the last decades of the Austro- other member of the Zuckerkandl salon indicating the pregnancy that Akrisios so Hungarian Empire, was a novelist, jour- to turn to: Hans Przibram. Przibram feared. nalist and writer; but her passion was for (1874–1944/5; he died in Theresien- The blastocyst, first described by Au- modern art. Her salon became a meeting stadt concentration camp) was founder gust Rauber and Rudolph Leukart in the place for artists, literati and academics, and director of Vienna’s Prater Vivar- 1880s, is a diagnostic stage of mammalian and her circle of friends included Au- ium, one of the leading developmental development [11]. It is a mass of cells guste Rodin, Josef Hoffmann, Gustav biology research institutes in Europe characterized by (a) an outer ring of cells Mahler, Max Reinhardt, Hans Przibram [29,30]. He was a leading researcher on (the trophoblast) that will adhere to the and in particular Gustav Klimt, whom the laws of growth and was one of the uterus and form the fetal portion of the she openly supported against his critics first experimental embryologists to use placenta; (b) the inner cell mass, which [19–21]. Her 1905 interview with Klimt chemistry, biomechanics and mathemat- adheres to one pole of the trophoblast concerning the scandal of his murals at ics in his explanations. He was also an ac- and is the source of the embryonic stem the University of Vienna (which the Min- complished artist and writer. According cells that generate the fetus; and (c) a istry of Education, on grounds of moral- to Sander Gliboff, “Przibram was noted fluid-filled cavity, the blastocoel. To an ity, refused to exhibit [22,23]) remained for his artwork, and his drawings were embryologist, these figures in Danae’s his major statement about license and exhibited at the Secession, Vienna’s cen- robe certainly look like a Secessionist artistic freedom [24,25]. ter for Standstill art, and printed in the rendering of a blastocyst.
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