|Gustav Klimt Sea Serpents V|
In 1907 Klimt spoke of an “ideal community of those who create and those who enjoy,” and expressed regrets that “public life was predominantly preoccupied with economic and political matters.” Have we come very far from this 100 years later?
I revel, marvel in the beauty of woman and her intricate, marvelous design. Klimt took solace in this immaculate power, which radiates from woman.
The subtle, soft, curves carved like the waves of the sea with strength and insistence, fight and ferociousness, wonder and vastness. She creates, shines, battles consistent forms of darkness hovering over head trying to pounce, while she protects.
Sexual creatures of the sea, sun and sand, salting the earth with their tears of joy and compassion, feeling and metamorphosing the earth's pain into pleasure from the divine. She delivers and carries, transforms and transmutes.
|Gustav Klimt Sea Serpents I|
|jurisprudence, medicine, philosophy: Klimt|
Klimt was commissioned to paint the ceiling of the Vienna University's Great Hall, the pieces were called, Philosophy, Medicine and Jurisprudence. He did not withhold his bold nature in presenting these three pieces.
Klimt's Philosophy, this work seems to emulate the arrogance of academia, simplifying the terms of life and death- "On the left a group of figures, the beginning of life, fruition, decay. On the right, the globe as mystery. Emerging below, a figure of light: knowledge."
Made in 1900 and destroyed in 1945. Klimt's Medicine,
Klimt conveyed an ambiguous unity of life and death, with nothing to celebrate the role of medicine or the science of healing.
At the bottom of the painting Hygieia stood with the Aesculapian snake around her arm and the cup of Lethe in her hand, turning her back to mankind. Wikipedia.
Klimt's Jurisprudence, Klimt does not seem to believe the law has mastered cruelty and violence, and shows it here with a return to primal instinct as the master of justice.
Truth, Justice and Law are represented in the three females (furies) surrounding the man being condemned.
This piece has always been seen as "psycho-sexual," and definitely delves into the other side of a woman's nature, which Klimt with his deep devotional love for her, rarely depicted in his works.
He shone her beauty through and through, with no potential for wickedness.
I think Klimt could relate to the old man being condemned by that which he loved. (SKG)