GENERAL DESCRIPTION
In 1894, the Ministry of Culture commissioned Gustav Klimt to design ceiling paintings for the recently founded University of Vienna. Klimt designed and executed three ceiling paintings representing three of the four faculties—Philosophy, Medicine, and Jurisprudence—between 1898 and 1907, a period of philosophical upheaval in Vienna. While his clients conceived of the series as an expression of Enlightenment—the triumph of light over darkness—the artist produced phantasmagorias of figures entangled and suspended in a vacuum that challenged traditional attitudes and aesthetics. Klimt developed his complex compositions through hundreds of studies, including this sketch of a floating female figure from Medicine, denounced due to the lascivious forward thrust of her pelvis.
Excerpt from
Samantha Robinson, "Modern Opulence in Vienna: The Wittgenstein Vitrine," label coy, 2014
NOTES
EMILY:
Please add the following to TMS as a Text Entry.
Label Copy
In 1894, the Ministry of Culture commissioned Gustav Klimt to design ceiling paintings for the recently founded University of Vienna. Klimt designed and executed three ceiling paintings representing three of the four faculties—Philosophy, Medicine, and Jurisprudence—between 1898 and 1907, a period of philosophical upheaval in Vienna. While his clients conceived of the series as an expression of Enlightenment—the triumph of light over darkness—the artist produced phantasmagorias of figures entangled and suspended in a vacuum that challenged traditional attitudes and aesthetics. Klimt developed his complex compositions through hundreds of studies, including this sketch of a floating female figure from Medicine, denounced due to the lascivious forward thrust of her pelvis.
Author: Samantha Robinson
Date: 2014
Remarks: "Modern Opulence in Vienna: The Wittgenstein Vitrine" label copy
Please add the following to Bibliography in TMS:
Bisanz-Prakken, Marian. "Gustav Klimt: The Magic of Line." Los Angeles: J. Paul Getty Museum; Vienna: In association with the Albertina Museum, 2012.
Bitsori, Maria and Emmanouil Galanakis. "Doctors vesus artists: Gustav Klimt's Medicine." BMJ Volume 325 (December 21-28, 2002): 1506-1508.
Fliedl, Gottfried. "Gustav Klimt, 1862-1918: The World in Female Form." Köln: Benediky Taschen, 1994.
Koja, Stephen. "Gustav Klimt: The Beethoven Frieze and the Controversy over the Freedom of Art." Munich; New York: Prestel, 2006.
Please add the following to Published References in TMS.
Comini, Alessandra. "Gustav Klimt." New York: G. Braziller, 1975. Illustrated: fig. 76a
Please add the Provenance and Exhibition History listed below to TMS.
Catalogue essays
Artist/designers
Cultures
Geography
Process/materials
Historical periods
Individuals
Subject terms
RELATED OBJECTS
PROVENANCE
Until 1960s: Christian M. Nebehay Antiquariat (Christian M. Nebehay), Vienna, Austria [1]
1960s-2014: Dr. Alessandra Comini (b. 1934), Dallas, Texas, purchased at Christian M. Nebehay Antiquariat, Vienna, Austria [1]
From 2014: Dallas Museum of Art, gift of the above
[1] See email from Alessandra Comini to Administrative Curatorial Assistant Martha MacLeod (dated Tuesday, October 28, 2014, in Collections Records Object File of 2014.69.6-12).
AUDIO ASSETS
Samantha Robinson, Gallery Talk, "Modern Opulence in Vienna: The Wittgenstein Vitrine," January 7, 2015 [FILE/URL NOT YET AVAILABLE]
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General Description
In 1894, the Ministry of Culture commissioned Gustav Klimt to design ceiling paintings for the recently founded University of Vienna. Klimt designed and executed three ceiling paintings representing three of the four faculties—Philosophy, Medicine, and Jurisprudence—between 1898 and 1907, a period of philosophical upheaval in Vienna. While his clients conceived of the series as an expression of Enlightenment—the triumph of light over darkness—the artist produced phantasmagorias of figures entangled and suspended in a vacuum that challenged traditional attitudes and aesthetics. Klimt developed his complex compositions through hundreds of studies, including this sketch of a floating female figure from Medicine, denounced due to the lascivious forward thrust of her pelvis.
Excerpt from
Samantha Robinson, "Modern Opulence in Vienna: The Wittgenstein Vitrine," label coy, 2014
Fun Facts
Archival Resources
Web Resources
Notes
EMILY:
Please add the following to TMS as a Text Entry.
Label Copy
In 1894, the Ministry of Culture commissioned Gustav Klimt to design ceiling paintings for the recently founded University of Vienna. Klimt designed and executed three ceiling paintings representing three of the four faculties—Philosophy, Medicine, and Jurisprudence—between 1898 and 1907, a period of philosophical upheaval in Vienna. While his clients conceived of the series as an expression of Enlightenment—the triumph of light over darkness—the artist produced phantasmagorias of figures entangled and suspended in a vacuum that challenged traditional attitudes and aesthetics. Klimt developed his complex compositions through hundreds of studies, including this sketch of a floating female figure from Medicine, denounced due to the lascivious forward thrust of her pelvis.
Author: Samantha Robinson
Date: 2014
Remarks: "Modern Opulence in Vienna: The Wittgenstein Vitrine" label copy
Please add the following to Bibliography in TMS:
Bisanz-Prakken, Marian. "Gustav Klimt: The Magic of Line." Los Angeles: J. Paul Getty Museum; Vienna: In association with the Albertina Museum, 2012.
Bitsori, Maria and Emmanouil Galanakis. "Doctors vesus artists: Gustav Klimt's Medicine." BMJ Volume 325 (December 21-28, 2002): 1506-1508.
Fliedl, Gottfried. "Gustav Klimt, 1862-1918: The World in Female Form." Köln: Benediky Taschen, 1994.
Koja, Stephen. "Gustav Klimt: The Beethoven Frieze and the Controversy over the Freedom of Art." Munich; New York: Prestel, 2006.
Please add the following to Published References in TMS.
Comini, Alessandra. "Gustav Klimt." New York: G. Braziller, 1975. Illustrated: fig. 76a
Please add the Provenance and Exhibition History listed below to TMS.
Catalogue essays
Artist/designers
Cultures
Geography
Process/materials
Historical periods
Individuals
Subject terms
RELATED OBJECTS
PROVENANCE
Until 1960s: Christian M. Nebehay Antiquariat (Christian M. Nebehay), Vienna, Austria [1]
1960s-2014: Dr. Alessandra Comini (b. 1934), Dallas, Texas, purchased at Christian M. Nebehay Antiquariat, Vienna, Austria [1]
From 2014: Dallas Museum of Art, gift of the above
[1] See email from Alessandra Comini to Administrative Curatorial Assistant Martha MacLeod (dated Tuesday, October 28, 2014, in Collections Records Object File of 2014.69.6-12).
AUDIO ASSETS
Samantha Robinson, Gallery Talk, "Modern Opulence in Vienna: The Wittgenstein Vitrine," January 7, 2015 [FILE/URL NOT YET AVAILABLE]
VIDEO ASSETS
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