Gustav Klimt, Beethoven Frieze발음듣기
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Gustav Klimt, Beethoven Frieze
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(Beethoven's 9th Symphony) Steven: Our necks are getting a little tired looking up but it's well worth it.발음듣기
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We're in the Vienna Secession building and we're looking at Gustav Klimt's Beethoven Frieze.발음듣기
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Beth: The secession artists decided to do something really radical and design something entirely around a sculpture by Max Klinger of Beethoven and their idea was to make a total work of art involving architecture, sculpture, painting and music.발음듣기
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And the idea behind the Gesamtkunstwerk, or a total work of art, is to unite the arts and the idea was that that unification of the arts was something that had been lost.발음듣기
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Steven: The notion of the Gesamtkunstwerk had come from Richard Wagner who had conceived of operas that were, of course, music, speech, but also set design and costume.발음듣기
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Beth: At the opening of this exhibition, Mahler's version of Beethoven's 9th Symphony was playing and one can almost hear that music here.발음듣기
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Just before painting the Beethoven Frieze, Klimt himself had been terribly persecuted for the frescos he made for the university.발음듣기
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Steven: And so that idea of alienation, of lone genius, these are romantic notions that really must have resonated at this moment.발음듣기
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Beth: Beethoven Frieze now resides in the basement of the Secession building in a room that exactly mirrors the room that it first occupied.발음듣기
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But at the top you see a series of figures in long flowing gowns that seem to float or almost fly softly across the surface.발음듣기
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Beth: Their eyes are closed. Their bodies are elongated and these are genii, or figures that represent the idea of humanity's longing.발음듣기
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Steven: The genii are interrupted in one area of the Frieze which shows first a young girl, a nude and we see her in profile. She's virtually just an outline.발음듣기
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These figures represent suffering humanity, pleading with a knight who's decked out in golden armor with two female figures above him, representing ambition and compassion.발음듣기
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Steven: There is this notion of seeking a kind of heroic mythic figure that could be a kind of savior.발음듣기
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Austria and Germany of course will distort these ideas in terrible ways where people are looking to insane fanatical figures as their savior. Think Hitler and others.발음듣기
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So let's go on to the next wall which represents the forces that the knight is here to save humanity from.발음듣기
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That end wall is painted very darkly and visually functions as an obstacle through which the knight needs to move.발음듣기
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They were three sisters who had snakes for hair, the most famous of which of course is Medusa.발음듣기
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Beth: And above those three gorgons are the figures of sickness, madness and death, also represented by women.발음듣기
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The figure that takes up the largest portion of the wall, however, is the figure of just pure evil and that's the mythic creature of Typhoeus.발음듣기
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Steven: When you look at Typhoeus you can certainly recognize his ape like head and chest but the entire mass of decorative painting to the right is also Typhoeus.발음듣기
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You can make out an enormous bluish eagle wing and below that a kind of infinitely articulated almost serpent-like body.발음듣기
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Beth: And within that serpent and wing we see another female figure who represents gnawing grief.발음듣기
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Steven: Whereas so many of the other figures are rendered in brilliant golds or blues, she is all grey and black.발음듣기
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Beth: The figures just to the right of Typhoeus represent lasciviousness, wantonness and intemperance.발음듣기
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Beth: This wall represents a kind of salvation for mankind in the arts and so we see a figure playing a lyre representing poetry and music.발음듣기
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There's a heavily ornamented surface that you can see the appliquĂŠ's on her dress are actually built up with gems that reflect the light.발음듣기
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Beth: It's almost like an ancient Greek vase painting in its linear and decorative qualities.발음듣기
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Steven: They look like they're enraptured and they seem to be moving almost in a kind of rhythmic response to music.발음듣기
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At the end of the 9th Symphony, Beethoven incorporates a poem called the Ode to Joy by Schiller which is this triumphant piece of music where an enormous number of voices harmoniously rise to the music and express a kind of intense fulfillment.발음듣기
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Beth: One of the lines in Schiller's Ode to Joy is "a kiss to the whole world" and in this phallic shape at the very end we see a man and a woman in an embrace, wrapped in a golden decorative cocoon with the sun and moon on either side.발음듣기
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Steven: In fact water seems to swirl around them, binding them together and their bodies are so close they seem to almost merge.발음듣기
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Neither of their heads are visible so they are, their love, it is this summation of the yearning that this entire Frieze has been about and it seems to be such a perfect visual expression of the way in which Beethoven's music comes to a kind of extraordinary crescendo. (Beethoven's 9th Symphony)발음듣기
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