Loretta Itri, MD, is a global health care professional who has focused on the development of oncology drugs throughout her career. Having recently traveled to Europe, Dr. Loretta Itri explored art exhibits in both Paris and Vienna. In the latter city, she was able to visit the Kunst Museum Bruegel exhibit, and she also took in the Belvedere Museum’s Gustav Klimt collection.
Although not included in the Belvedere collection, one of Klimt’s most recognized works is the breakthrough “Beethoven Frieze,” which reflected the impetus of the Vienna Secessionists, a group of progressive artists who broke free of the conservative academic sphere in 1897 with a mandate of synthesizing music and the fine arts in unconventional ways.
Five years later, 21 core members of the Vienna Secessionists developed an exhibit focused on celebrating the artistry of composer Ludwig van Beethoven. With the sculpture “Beethoven Monument” by Max Klinger a centerpiece, Klimt created his work as a three-wall frieze near the exhibition room’s ceiling. The large scale work was meant to serve as a backdrop to the sculpture, and not initially intended as a permanent work in its own right.
Rather than taking direct inspiration from Beethoven, Klimt created his allegorical work from an interpretation of Beethoven's Ninth Symphony by Richard Wagner. Designed to be viewed from left to right, the frieze begins with emaciated figures representing humanity besieging a knight in gilt armor, who represents humanity’s “external driving forces.”
The next section features naked gorgons with snakes for hair and a large monster, with the tableau representing humanity’s shortcomings. Finally, in an evocation of “Ode to Joy,” Klimt portrays a man and woman in passionate embrace, with art and love triumphant against humanity’s woes.
The Beethoven Frieze became an immediate sensation, part of an exhibition that attracted 60,000 visitors and was one of the Vienna Secessionists’ crowning achievements.
Although not included in the Belvedere collection, one of Klimt’s most recognized works is the breakthrough “Beethoven Frieze,” which reflected the impetus of the Vienna Secessionists, a group of progressive artists who broke free of the conservative academic sphere in 1897 with a mandate of synthesizing music and the fine arts in unconventional ways.
Five years later, 21 core members of the Vienna Secessionists developed an exhibit focused on celebrating the artistry of composer Ludwig van Beethoven. With the sculpture “Beethoven Monument” by Max Klinger a centerpiece, Klimt created his work as a three-wall frieze near the exhibition room’s ceiling. The large scale work was meant to serve as a backdrop to the sculpture, and not initially intended as a permanent work in its own right.
Rather than taking direct inspiration from Beethoven, Klimt created his allegorical work from an interpretation of Beethoven's Ninth Symphony by Richard Wagner. Designed to be viewed from left to right, the frieze begins with emaciated figures representing humanity besieging a knight in gilt armor, who represents humanity’s “external driving forces.”
The next section features naked gorgons with snakes for hair and a large monster, with the tableau representing humanity’s shortcomings. Finally, in an evocation of “Ode to Joy,” Klimt portrays a man and woman in passionate embrace, with art and love triumphant against humanity’s woes.
The Beethoven Frieze became an immediate sensation, part of an exhibition that attracted 60,000 visitors and was one of the Vienna Secessionists’ crowning achievements.
