Gustav Klimt and the Byzantine Influence 1903-1909

Art

Gustav Klimt was at the forefront of the flowering of artistic expression that characterized the early twentieth century. Globalization and cross-cultural encounters made Eastern themes fuse easily with Western ones. Klimt, like many of the Impressionist artists contemporary with him, drew themes, motifs, and painting techniques from Eastern art. The art of early Christianity and of the Byzantine Empire made an indelible stamp on Gustav Klimt, perhaps more than any other artist of the twentieth century. Klimt transformed Byzantine symbols, motifs, and artistic techniques, turning them into a language for modern art. This research will examine the source of those influences, including the mosaics of Ravenna, and how Klimt incorporated them into twentieth century painting.

Klimt might not have been making a political statement by depicting themes like human sexuality and female sexual liberation using the austere motifs of Christianity. Therefore, I will argue that Klimt's golden period is accidentally subversive. Klimt is doubtlessly reacting to religious art, but mainly in a formal manner that takes technique to a new level. In his golden period, Klimt pays direct homage to the sheer aesthetic features of Byzantine art. Byzantine art might have been previously valued only for its religious significance rather than for its aesthetic beauty. In fact, the Christian denial of the body and its physical pleasures parallels the possible repression of the enjoying of art for art's sake. Religious and mystical texts verify this claim. On the other hand, I will show that Klimt clearly follows the art for art's sake tradition, and created a series of delightful and bold paintings that express modern themes using traditional techniques.

The main formal elements Klimt borrows from Byzantine art include mosaic decoration, formal composition, and especially the use of gold, bronze, and other metallic colors. What Klimt leaves behind in Ravenna is the overt religiosity of Byzantine murals and mosaics.

In 1903, Klimt offers the first sign of the emerging golden period. "The Golden Knight" demonstrates the artist's early incorporation of Byzantine elements. For example, the titular knight is a bold use of gold leaf. While "The Golden Knight" seems less refined and is surely darker than later material from his golden period, Klimt does already exhibit an appreciation for the mosaic such as in the horse's lead and also in the background. In "The Golden Knight," the mood is stark and austere. No sexuality is depicted in "The Golden Knight," except that which is cov ert in the symbolism of the horse. Moreover, the absolute, artificial erectness of the rider is an allusion to male sexuality as the horse is poised for action.

Sexuality becomes a more notable theme in later golden period paintings by Klimt. For example, in 1907, Klimt exhibits an extravagant use of gold not as a means of glorifying God as the Byzantine artists would have, but to display wealth ostentatiously. The Bourgeois woman in the portrait is ironically taking the place of Mary, as Adele Bloch-Bauer has no child in her arms. She is the new, modern form of the Madonna. Gold is depicting her obvious wealth. Mosaic technique includes Eastern motifs such as the evil eyes that adorn Bloch-Bauer's dress.

In 1908, Klimt completed one of his masterpieces, "The Kiss." In "The Kiss," sexuality is the main motif, as the couple is embraced tightly so that their bodies are one. Totally entwined, the bodies form a phallic symbol. The image is not about courting but about lust and sex. The mosaic-like effect and the gold are formal techniques and have no thematic allusion to Christianity.