Philosophy (final state)Gustav Klimt · 1907

Identification of Philosophy (final state) by Gustav Klimt

Philosophy (final state) is a painting by the Austrian artist Gustav Klimt. The work reached its completed state in 1907. It was produced as part of a larger series of paintings commissioned for the University of Vienna between 1900 and 1907. This specific piece was intended for the ceiling of the Great Hall within the University of Vienna.

The creation of this work occurred during a period of significant artistic development for Klimt. It belongs to the group of paintings known as the University Paintings. These works were part of a monumental project to decorate the architectural spaces of the institution. The scale of the composition reflects its original purpose as a ceiling mural.

The Composition and Visual Elements

The composition is organized into distinct hemispheres. On the left side, a procession of nude figures moves in an intertwined and overlapping arrangement. These figures represent the human lifecycle, progressing from infancy through to old age. The forms are elongated, creating a sense of fluid movement across the canvas. In contrast, the right hemisphere is dominated by a vast expanse of sky. A colossal sphinx is positioned within this space, punctuating the celestial background.

At the base of the work, a female figure named Hygieia is depicted. She carries the cup of Lethe in one hand, while the Aesculapian snake is coiled around her arm. She is positioned with her back turned toward the central group of figures. Near the center, a woman figure is partially veiled in darkness. This figure is situated amidst a complex arrangement of shapes and patterns.

Technique and Artistic Materials

The work is executed on a canvas measuring 430 x 300 cm. Klimt utilized tempera to build the composition, applying the medium to create a sense of depth and texture. The surface features layers of gold leaf that have been meticulously applied over textured areas. This method results in a shimmering visual effect across the large-scale surface.

The application of materials follows the principles of the Art Nouveau style. The artist used organic forms and flowing lines to define the figures and the surrounding space. The interplay between the matte tempera and the reflective gold leaf creates a contrast in how light interacts with the different sections of the painting. This technique emphasizes the surface quality of the work while maintaining the structural integrity of the elongated human forms.

History and Loss of the Original Work

Following its initial presentation, the painting was acquired by August Lederer. The work remained in private hands until the period of the Second World War. During the final stages of the conflict, the painting was moved to Schloss Immendorf, a castle located in Lower Austria, for protection.

The original canvas is believed to have been destroyed during the retreat of SS forces. These forces set fire to Schloss Immendorf, resulting in the loss of the work. No physical remains of the actual painting exist today. Only preparatory sketches and photographic documentation remain as tangible evidence of the work's existence and its specific visual details.

Documented Interpretations and Debates

The reception of this work was marked by significant friction within Austrian artistic circles. Critics frequently denounced the composition as sexually provocative, arguing that its imagery was unsuitable for the academic environment of a university. These observers often described the central mass of figures as a dreamlike assembly of humanity, suggesting the arrangement referred to a "viscous void" rather than a structured philosophical inquiry. This perception of aimlessness and lack of rationalism stood in direct opposition to the expectations of the period's academic institutions.

The artist provided a specific framework for the symbolic elements within the composition. The left side of the work is intended to represent a progression of human existence, specifically the beginning of life, fruition, and decay. In contrast, the right side is meant to depict the globe as a source of mystery. Emerging from the lower portion of the canvas is a figure of light, which is intended to represent the concept of knowledge.

The debate surrounding the work was part of a larger tension between evolving modernism and the rigid dictates of state-sponsored art. The controversy eventually led to a withdrawal from public commissions, as the artist sought to distance his practice from the constraints of academic censorship and the scrutiny of public officials.

Related Works by Gustav Klimt

The University of Vienna ceiling paintings include several works that share a thematic connection to this piece. Jurisprudence (final state) and Medizin are part of this same series. These works were part of the large-scale commission for the Great Hall of the University. Like Philosophy (final state), these paintings were subject to significant public debate and scrutiny during the early twentieth century.

Other compositions from the artist's period of high ornamentation include The Three Ages of Woman, which was painted in 1905. This work belongs to the era when the artist was developing his specific use of decorative patterns and symbolic forms. Additionally, The Kiss was produced between 1907 and 1908, a period following the completion of the University of Vienna projects.