Klimt Summary

In their article “Fertilization Narratives in the Art of Gustav Klimt, Diego Rivera and Frida Kahlo: Repression, Domination and Eros among Cells”, Scott F. Gilbert and Sabine Brauckmann speak of the different ways in which Klimt, Rivera, and Kahlo represent fertilization in their art. Giblert and Baruckmann observe and note Klimt’s presentation of victory of creativity over repression, Rivera’s depiction of victory of man over procreation, and Kahlo’s demonstration of the continuation of life.
Analyzing Klimt’s Danae, the two conclude that Klimt enjoyed depicting the more biological aspect of fertilization, painting blastocysts on Danae’s gown. In the Greek myth, King Akrisios locks up his daughter Danae due to fear of the realization of a prophecy stating he would be killed by his grandson.

Again, the mixed religious-biological aspects seen in Klimt’s Danae are present, combining the Biblical tale of Moses as an infant going down a river in a basket with images of naked persons and a fetus in a uterus, seen in the center of the painting. Many religious figures in the painting are recognizable, such as Buddha on the left side, baby Moses in the lower center, and Jesus and Zeus on the right side. These powerful male figures, combined with the nude women, suggest a strong relation between nature/biology and religion. Though it can be thought that men dominate the painting as there are more men than women and the men depicted are fully clothed (whereas the women are not), the uterus and ovaries in the center of the painting indicate that women are a central part of the process of fertilization. Above the ovaries is a large circle whose ‘hands’ reach across the ovaries and all parts of the painting, indicating the existence of a universal connection. The fetus in the center of the piece represents both the continuation of life and what some religions consider the act of ultimate