By Lara Harmankaya
April
Another academic year nears its end. The approach of the end is marked by the longer hours of daytime and the re-emergence of a softness in the air. With 2As increasingly melancholic about their imminent departures, a spirit of contemplation takes hold of the students of the Menton campus. The fleeting nature of our time here suddenly becomes conspicuous to us; we arrive, build friendships and connections, and leave after two very short years. We leave our mark but ultimately get swept up in the thousands of mosaics that mold the rich history of this institution. The eagerly-anticipated arrival of spring thus becomes a bittersweet reminder of the need to move on and undergo a process of detachment yet again. Quite literally, as this reveals to us, the trajectory of the students of Sciences Po follows a seasonal progression of time – each season symbolic of a beginning and a conclusion. In such a time of reflection, the pertinence of Gustav Klimt’s artwork and the unique outlook it has on ephemerality becomes evident yet again.
In his 1911 oil on canvas painting, Death and Life, Klimt reminds us that life continues, even in the face of ‘death.’ In the Sciences Po context I described above, Death can be interpreted as endings in general. It expresses transience and the constraints imposed on us by the cruelty of time. Displayed in the Leopold Museum in Vienna, the almost six-foot-tall Death and Life is a melange of meaning, stages and colors. It appears fluid to the eye, quite like the transitional phases of life it represents through its curvaceous nude figures. The baby, the surrounding young and old women, and the pair of lovers beneath symbolize the many age groups of the human race and are all cocooned in a blanket composed of bright colors. Patchwork designs, floral patterns, circles and geometric shapes all blend together and create images that melt into one another. This contrasts vividly with the solitary, navy figure of Death. He is reminiscent of the night; his robe is embellished with bright crosses erected on a graveyard and star-like speckles of white that illuminate the cool darkness of what appears to allude to the night sky. On the other hand, the embracing figures he is eagerly observing discernibly illustrate the warmness of day, summer and spring.
This is a painting with a title as uncomplicated and clear as its metaphors. Its sharp juxtapositions – between soft and hard, nature and abstraction, dark and light, and somber and vibrant – connote an idea that is easily understood by all those who have grasped the concept of mortality. However, looking at it yet again, it evokes an additional element internal to the human condition that no simple life-death distinction can convey with true accuracy. To understand this, we must dive deeper into the historical era in which it was produced. In the early 20th century, a growing fascination with the subconscious permeated the Viennese intellectual sphere following the rising popularity of Freud’s ‘The Interpretation of Dreams.’ The figures, with the exception of one, all strikingly have their eyes closed. The way they clutch one another, therefore, evokes not only intimacy but also a dream-like state that denotes the subconscious. Against the backdrop of World War I and the increasingly prominent academic interest in looking inward, this painting can be analyzed as a reflection of a collective unconscious that wished to escape material reality. Moreover, it was also part and parcel of the broader Secession Movement in Vienna, which marked a radical shift in producing and appreciating art. With an uncertain sociopolitical environment and under the guiding creativity of Klimt, Austrian artists began challenging conventionally accepted approaches to art and incorporated more innovative techniques – among which, of course, were Klimt’s bold colors, sensual imagery and irregular mosaic designs. Observing this painting without understanding the context that spurred its genesis can thereby lead to losing out on the very nuance that makes it exceptional.
As with all art, Death and Life was not brought into existence in a vacuum but was very much the product of an age of progress and rising modernity. Yet, the principal meaning of it is tied to the fact that life and death are continuous, cyclical and ceaseless. The painting itself is thus a juxtaposition, signifying the age-old intrinsic dilemma of human nature amidst a time of irrevocable change. Thus, it can be suggested that what Klimt may have desired with this painting was to denote the transcendence of the human experience. Even as many attempted to break with the conventions of the past, one thing remained eternal – the universality of beginnings and endings.
Awarded the first prize in the 1911 International Art Exhibition in Rome, Death and Life is said to have been described by Klimt as his “most important figurative work.” Examining the significance of the skeleton personifying Death could help us see why. According to art historians, it is reminiscent of the motif of the ‘dance of death’ / ‘danse macabre,’ which first appeared in the Middle Ages. Serving as an emblem that death comes to all regardless of rank and social status, the historic relevance of the subtly smirking skeleton in the painting itself is a reminder of the sense of succession found in human nature and art history. Examining the history of Klimt’s artwork can also be insightful in discerning the figurative importance of his stylistic choices in this painting. Known for the abundant use of gold in many of his pieces, including in Judith and the Head of Holofernes, this painting – having encountered multiple amendments that removed its traces of gold – can be seen as the outcome of a more mature Klimt who died three years after its conclusion. In 1915, the background was painted over with hues of gray, green and blue, almost as if to mimic a sea of consciousness. This grants the painting a sentiment of reality; rather than washing out the amorphous blocks with gold and lavish, they are given center-stage. Life itself is not glitteringly golden but is grounded in the earth and ambiguous.
The overall tone of the painting, despite being conscious of the inevitability of Death and conclusion, is not a grim one. It is hopeful – the entangled figures on the right are able to ignore the disturbing gaze of Death and continue their streaming slumber in peace. They are part of the larger cycle of life, and knowing that life will continue even after their time does not disturb their tranquility. Perhaps that should be the lesson to extract from this painting. There exists the looming threat of termination just a few steps away, but for the time being, we can enjoy the moments we have and keep holding onto each other.
Image - Flickr, Frans Vandewalle, Creative Commons