![]() ![]() With nearly 60,000 visitors, the XIVth exhibition was one of the Secession’s greatest public successes. An opening in the wall offered a view of Max Klinger’s Beethoven statue, hinting at the intended synergy of architecture, painting (Klimt’s Beethoven Frieze) and sculpture (Klinger’s Beethoven). Klimt’s monumental wall cycle was located in the left-hand aisle, which visitors to the exhibition entered first. The stated objective was to reunite the separate arts-architecture, painting, sculpture and music-under a common theme: the “work of art” was to emerge from the interplay of the design of the rooms and the wall paintings and sculptures. In addition to Klimt’s Beethoven Frieze, the show featured wall paintings and decorations by Alfred Roller, Adolf Böhm, Ferdinand Andri and numerous other artists. At the center of the exhibition, in the main hall, stood Max Klinger’s Beethoven statue. Twenty-one artists worked together under the direction of Josef Hoffmann. Conceived as a tribute to the composer Ludwig van Beethoven, the presentation epitomized the Secessionists’ vision of an encompassing synthesis of the arts. Gustav Klimt created the famous Beethoven Frieze for the XIVth exhibition of the Association of Visual Artists Vienna Secession, which was held between April 15 and June 27, 1902. XIVth exhibition 1902, left side-aisle with the Beethoven Frieze by Gustav Klimt, Photo: Archive of Secession The 1902 Beethoven Exhibition Board of Trustees of the Friends of the Secession.Association of Visual Artists Vienna Secession.Thus, the frieze expounds psychological human yearning, ultimately satisfied through individual and communal searching and the beauty of the arts coupled with love and companionship. ![]() Represented in the close embrace of a kiss. The journey ends in the discovery of joy by means of the arts and contentment is Thence appears the knight in shining armour who offers hope due to his own ambition and sympathy for the pleading, suffering humans. The electric blue skirt is the only resounding color in the entire frieze. The large, sagging figure of Intemperance, with her gaudy, bejeweled clothes, looks like a brothel madam On the right of the gorilla, the concepts of Lust, Voluptuousness and Intemperance are personified in female form. Photo of Beethoven Frieze by Gustav Klimt Klimt plays with paradoxical themes of ugliness in beauty and death in love, and the work's nudity, with explicit black pubic hair, re-incensed the Viennese establishment. Above them, crazed, wasted faces of death and syphilitic disease,Īlso prevalent in Viennese society, stare down. Sirens, with gold snaking through their hair, were to reappear in the another controversial work by Klimt, Jurisprudence (1899-1907). In the first half of this evil vision, a gorilla portrays the giant, Typhoeus, personificaton of the typhoid which plague European cities, including Vienna, in the nineteenth century. It begins gently with the floating female Genii searching the Earth but soon follows the dark, sinister-looking storm-wind giant, Typhoeus. The viewer follows this journey of discovery in a The frieze illustrates human desire for happiness in a suffering and tempestuous world in which one contends not only with external evil forces but also with internal weaknesses. Now on permanent display in the Vienna Secession Building. After the exhibition the painting was preserved, although it did not go on display again until 1986. Meant for the exhibition only, the frieze was painted directly on the walls with light materials. Womand in Black Feather Hat Drawing by Gustav Klimtīeethoven Frieze was painted by Klimt in 1902 for the 14th Vienna Secessionist exhibition, which was intended to be a celebration of the composer and featured a monumental polychrome sculpture by Max Klinger. ![]()
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