Gustav Klimt and the Byzantine Influence 1903-1909 Research Proposal

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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.

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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….....

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