GUSTAV KLIMT THE RONALD S. LAUDER AND SERGE SABARSKY COLLECTIONS Edited by Renée Price With contributions by Ronald S. Lauder, Renée Price, Alessandra Comini, Sophie Lillie, Maria Altmann, Ernst Ploil, Marian Bisanz-Prakken, Tobias G. Natter, Emily Braun, Janis Staggs, Manu von Miller, and Hansjérg Krug NEUE GALERIE MUSEUM FOR GERMAN AND AUSTRIAN ART = NEW YORKThis catalogue has been published in conjunction with the exhibition GUSTAV KLIMT ‘THE RONALD S. LAUDER AND SERGE SABARSKY COLLECTIONS Neue Galerie New York October 18, 2007—June 30, 2008 Edited on behalf of Neue Galerie New York by Renée Price Director of Publications Scott Gutterman Text Editors Diana C. Stoll Audrey Walen Exitorial Janis Stags Photo Research Sharon Jordan Translations Steven Lindberg Design TTeang Seymour Design, Inc. Laura Howell Project Coordination Victoria Salley Anja Besserer Production Florian Tutte Image Origination Repro Ludwig, Zell am See, Austria Printing and Binding Druckerei Uh! GmbH & Co. KG, Radotizell, Germany Printed in Germany on aci-tree paper [Al Rights Reserved © 2007 Neue Galerie New York; the Authors © 2007 Prestel Verlag, Munich Berlin London New York Library of Congress Control Number: 2007933349 ISBN 978-3-7913-3834-7 Exhibition Curator Renée Price Exhibition Design Peter de Kimpe Klimt Atelier Reconstruction John Vinci Christian Witt-Dérring Exhibition Coordination Geoffrey Buns Sofa Saglam Prestel Verlag Kéniginstrasse 9, 80539 Munich Tol. +49 (89) 38 17 09-0, Fax +49 (89) 38 17 09-35 Prestel Publishing Li. 4, Bloomsbury Place, London WC1 208 ‘Tel. +44 (020) 7823-5004, Fax 44 (020) 7636-8004 Prestel Publishing £800 Broadway, Suite 603, New York, NY, 10003, Tal +1 (212) 995-2720, Fax +1 (212) 995-2733 ‘wwwuprestelcomEMILY BRAUN Ornament as Evolution Gustav Klimt and Berta Zuckerkandl Looked at in ane way each breadth stands alone, the bloated cuwves and fourishes—a kind of “debased Romanesque” with delirium remens—go waddling yp and down in isolated columns of fatuily. But, on the other hand, they connect diagonally, and the sprawling outines runoff in great slanting waves of optic horror, like a fot of wallowing seaweeds in full chase, | didn't realize fora long time what the thing was that showed behind, that dim sub-patter, but now Iam quite sure its a woman, By daylight she is subdued, quiet. fancy itis the pattern that keeps her 0 stl. [tis 50 puzzling. It keeps me quiet by the hour Charlotte Perkins Gilman, The Yellow Wall-Paper, 1892 [Gustav Klimt] dissolves the female body into wonderful, decorative lines to Create his idea! figure. He does away with anything accidental, any individual ‘characteristics, s0 that only the typical, a sublime extract, of the modern female type is captured in pure style Berta Zuckerkandl, “Gustav Klimt: On the opening of his exhibition? Wiener Allgemeine Zeitung, 1903 Despite the decade and an ocean separating one woman's harrowing account of her nervous breakdown from anothers praise of archetypal feminine beauty, the dominant template has not changed: the female figure is overcome by or merges With a profusion of pattern, Charlotte Perkins Gilman's horror vacuFthe hysteria of the creative woman reduced to the merely oramental—was an image of protest against the stifing social conventions that led women to madness; by contrast, Berta Zuckerkandl extolled Klimt's ability to render the fairer of the species in all her omamental glory. Although their pairing of ornament and women was used to different ends, the two writers were united by an unconventional feminism, impassioned by scientific knowledge of the day and informed by Charles Darwin's theories of evolution." 1. Gunav Ki, Wer Serpents 1908-07 eta)2. Bera Zucker, 1908, Proogaph by Alar Ora Benda, [Blac der Osteneciechen Natori, Vena “That Klimt’ art should be interpreted in such “sexist” terms by a major critic ofthe time does not surprise: what gives one pause is that the author is a woman. How is it that an artist of Kiimt's stature agreed to have a female journalist as a chief spokesperson for his art, at a time when few women had byiines on the cultural pages of the mass dailies? And how did Zuckerkandl reconcile her identity as an ambitious intellectual and member ofthe progressive women's movement with his apotheosis of female sexuality? Aside from their mutually beneficial professional relationship, the answer lies in a shared enthusiasm for the biological sciences that naturalized the poltcs of sexual ifference and directly influenced Kiimt’s modemist aesthetics Zuckerkand!’s role as Klimt’s interlocutor forces us to reconsider longstanding perceptions ofthe artist as a misogynist painter of femmes fatales, an earthbound salyr or art-forvar’s-sake hedonist, seemingly unaware of scientific or social issues? Studies of his intimate relationship and artistic collaborations with the fashion designer Emilie Flége,as well as his aliances with women patrons (most of them Jewish) have complicated these stereotypes. Klimt’s images of women, though encased in fin-de-siécle conventions, were anything but demeaning. The profusion of nature's beauty in his canvases represents not entrapment but the awe-inspiring origin of lfe and sexual selection, More than simply a decorative overlay or trope of modernist abstraction, Kimt's omament plays aprecise symbolic ‘and nartative function. Influenced by German Romantic Naturphilosophie and its subsequent transformations in the science of Darwin and Ernst Haeckel, Kimt ‘embedded his paintings with identifiable signs of evolutionary biology In a teling metaphor, Zuckerkandl wrote that his early work contained “the embxyological cells inherentin all of his later developments" Indeed, the role of ornamentin his oeume ‘can be seen as a conscious progression from the use of biological forms to the use of cultural ones, wherein the geometric motifs of mankind's earliest cWvilzations bear homology to their original, organically derived progenitors, Berta Zuckerkandl (b. 1864, d. 1945) [Fig. 2 did not have to worry about being smothered by ugly wallpaper-her colleagues Joset Hoffmann and Dagobert PPeche, principals of the Wiener Werkstatle, designed her apartment in Vienna, where she presided over one of being an expendable, feminine embellishment, her salon had a primary role in cross-cultural pollination. Klimt, Hoffmann, Otto Wagner, Gustay Mahler, and the 1 most influential salons in the city* Far from Jung Wien riters Stefan Zweig, Peter Altenberg, and Hugo von Hofmannsthal were among the habitués. And as a foremost theorist of the Sec for the movement was generated in her home), Zuckerkandl avoided the social pitfalls of being perceived as mere decorative abject. Powerful enough to be dubbed, pejorative she was referred to deferentially as the “coyal advisor" fr her family’s con to Crown Prince Rudo, and for her role as an effective middleman, ion (the idea “the puppeteer of the Viennese cultural scene" by Karl Kraus,Zuckerkandl and the writers Ludwig Hevesi and Hermann Bahr made up the triumvirate of critics on the forefront of proselytizing for the new art (Fig, 3] Hevesi claimed, with a deliberate military analogy, that Zuckerkandl relished the polemical and fearlessly headed off tothe front ine with “heavy munitions! “In this fight my weapon was my pent she concurred, *my battlefield the Wiener All censorship arising from his expli ne Zeitung” In particular, she defended Klimt against controversy and depiction of female nudity, When he went public with his reasons for buying back his muck-maligned university murals in 1905, he granted Zuckerkand! the exclusive interview: Born into the public sphere, Zuckerkandl was the daughter of Moritz Szeps, the chief editor of the Neues Wiener Tagblat, one of the leading liberal newspapers in opined Hevesi. “She had grew up in @ home that often hosted the city. “She inherited what few people could lea blood” Zuckerkand receptions for statesmen and intellectuals; h journalism in father’s connections to French statesman Georges Clemenceau led to the mariage of her sister Sophie to his younger brother Paul. The sisters’ respective salons formed a cultural axis between Paris and Vienna, undertining their liberal crientation toward the French Republic and away from Bismarck’s militarism and the pan-Germanic movement. For in shaping a cistinctive national at, Zuckerkandl emphasized that the Austro- Hungarian genus incorporated a variety of ethnicities, languages, and religions (including her own Jewish roots): “It was a question of defending a purely Austrian{Top rom om it Euchre, Artur Strit btm ron or i Sigman Freud Jule Wap From Oxterich iin Etna 180 by Bers Zhan couture, a form of art that would weld together all the characteristics of our multitude of constituent peoples into a new and proud unity’® Equally important for consideration here is the fact that Zuckerkandl enjoyed marriage to Emil Zuckerkandl (5. 1849, d. 1910) [Fig 4a renowned professor of anatomy at the University of Vienna medical school, at that time the foremost institution of its kind in Europe® Comparative anatomy, paleontology, and, later, embryology, along with exacting observations of domesticated species, provided the scientific foundations for Darwin's theory of evolution by natural selection. Barta Zuckerkandl recalled that her husband's mention of Darwin's ideas during his inaugural public lecture at the university in 1888 so offended conservative Catholics that the minister of education demanded (unsuccesstully) his resignation.” Just over 2 decade later, Kimt’s university murals came under similar ideological fire because their content was rife with allusions to evolutionary science, When eleven professors petitioned against Kiim's Philosophy (Philosophie, 1900-07) [Fig. 9], Emil Zuckerkandl, then the chair of the medical faculty led the counterprotest group."’ Through Emil, Klimt gained entry to the dissecting room to draw cadavers, facilitating the unsparing veracity of his figures—in nuditate veritas—that so enraged ideological conservatives and the aesthetic champions of an idealizing classicism"? ‘As much as Berta esteemed her husband (at times noting Emil's psychological ‘absence’ from her and their only child Fritz, as he worked on his important ciscoveries) she admitted to the inital discomfort of having to adjust to a lower economic level after her marriage. That Klimt never painted Berta Zuckerkandl may be due to the fact that the couple could not afford it: they ved relatively ‘modestly on Emis university salary. In 1929, Berta and her son Fritz acquired a Klimt landscape from the estate of Emis brother, Victor Zuckerkandl he was @ wealthy businessman who had numerous Klimt paintings in his collection and, through Berta's intervention, commissioned Werkstatte artists to design the Purkersdorf Sanatorium. It is also possible that Borta did not desire to be painted by Klimt, ambitiously preferring to be his portraitist, rendering an image of the artist for posterity through the lines of her pen. [At the Zuckerkandl home, Klimt and the stars of the Viennese cultural firmament mixed with the brillant medical scientists of the day. The psychiatrists Richard Krafft-Ebing and Julius Wagner von Jauregg and the surgeon Theodor Billoth were amang the regulars, along with Berta’s brother-in-law Otto Zuckerkandl, a surgeon and urologist. The two worlds were brought together in the writer Arthur ‘Schnitzer, @ specialist in nasal surgery (as well as contemporary sexual mores), who studied under Emil, and whose father, Johann, was a famed laryngologist [Fig. 4. Berta's memoirs make clear the fascination she had for her husband's research and for his colleagues, and display her knowledge of the schoolsvenerable history, from its founder, Karl von Rokitansky, to the latest genius, ‘Sigmund Freus."* Her relationship to science went beyond privieged access: as ‘2 member of the progressive women's movement, she was committed to’ the education of the masses~a social rather than a socialist movement as she put it It was a time, too, when the discoveries of scientists held interest for a broad public; the tradition of popular science-including the reception of Darwin's ideas-was particularly strong in the German-speaking nations. The first popular science magazine to be published in Austria, Das Wissen fir Alle, was founded in 1901 by none other than Moritz Szeps in support of his daughter's conviction that “intellectual democratization® spurred human progress.!® Certainly the research of two medical giants~Krafft-Ebing and Freud—served to “prove” women's lower evolutionary rank and circumseribed female sexuality from the perspective of biological determinism. Yet other leading scientists, notably Emil Zuckerkandl, were active “feminists? and supported higher education for women, which was significantly lacking in Austria. Emil served on the committee of the Association for Extended Women's Education and taught classes in anatomy to female art and grammar-school students." In her memoir, Berta proudly wrote that her husband scoffed at the idea that women were less infeligent than men, and that he staunchly supported the admission of women Info Austrian universities. She also claimed that Emil was the first faculty member to choose women research assistants after they were finally allowed, in 1900, to fake degrees at the medical school I remember that the Dean of the University argued that my husband, as an anatomist, should know perfectly well that women’s brains were less developed than those of men. My husband answered that he also knew perfectly well that ‘out of a hundred male students who tried to pass their medical examinations, ninety-seven were complete asses, and it could reasonably be expected that nat more than ninely-seven out of a hundred ‘women students would be absolute geese” ” For their part, theorists of the first generation of women progressives-to which Berta Zuckerkandl belonged-upheld the essentialist roles of procreation and ‘motherhood but fought against the determinist perception that these precluded women's social and political parity with men. As Harriet Anderson has documented, cultural regeneration in the form of intellectual awakening, rather than a break with traditional notions of womanhood, motivated the largely middle~ class constituency of feminists. Marie Lang and Rosa Mayreder, leading figures of the General Austrian Women's Association, openly supported modernist art and literature for its exploration of female sexuality and its ertique of the double standard of bourgeois morality “The artistic Secession of Gustav Klimt and Josef Hoffmann and the secession of women, the women's movement, were often‘mentioned in the same breath"® The interests of the two groups also dovel in their dedication to the reform of women's fashions.” Conversely, antifeminists— who were rampant in in-de-siécle Vienna—used the fear of societal degeneration as a weapon against sex education and female emancipation The public outery (by men) over Kim's nudes attests that his exploration of human reproduction touched on an explosive social issue: submitting Eros to scientific ‘materialism, he implied that neither God nor man, but only nature's wil, controlled the evolution of the human species. Zuckerkand! pointedly addressed Kiimt's challenge to “the cowardly hypocrisy of the present day" in an article devoted entirely to his 1908 painting Hope I (Die Hotinung 0) [Fig. 6), and its upcoming exhibition at the summer 1909 Kunstschau. (Although this work has been traditionally titled in English Hope J, the translation Expectancy more accurately rellects its content) Zuckerkandl aimed to offset the expected controversy generated by the image of a pregnant nude in pratile, pubic hair and all Gustav Klimt painted the body of a naked woman in the final stages of pregnancy her body in bloom, deformed and misshapen, The woman stands motionless, in @ chaste and sacred manner, lost in her own world, contemplating the immense process going on inside her Italics added] ‘She does not feel death behind her, noris she aware of my figures floating quietly around her. It is a glorification of motherhood, of her Unconscious heroism, shown with the mast honorable and artistic mastery” Ingignant that Klimt had been forced to withdraw the work from his personal retrospective six years earlier, Zuckerkandl referred to a recently published book con motherhood to demonstrate that Hope ! belonged to a venerable tradition in the history of Christian art: “Was there women than the drama of motherhood?” To those who objected that pregnancy wer a better topic for the depiction of and parturition were subjects best shown in private, she rejoined with examples from cathedral doors, church altarpieces, and public museums. The reaction of earlier audiences was not shock, she asserted, but simply ‘It is natural"—in t Contrast to the feigned propriety of her contemporary viewers, who could accep tes the original nudity in old masterworks, because “ patina of age mitig crudeness?”" ‘tis natural” reiterated Zuckerkandl~a mother herself—with rhetorical flourish. In an even more naturalist exposure of “the immense process going on inside her? Klimt depicted 2 dark blue, balloon-shaped ci claw poised next to the swollen womb. Described by reviewers then and now as ature with long tail and prehensile 11908, ot on cana. a dragon or monster (threatening or comic), it makes manifest Klimt's knowledge of embryology, or what Darwin termed “a picture, more or less obscured, of the Far from the detailed common parent form of each great class of animalsgitterrede (Torpedo marmorate Riso), rendition of the human fetus found in the work of Edvard Munch and Aubrey Beardsley, Klimt invented a hybrid that explcates the origins of humans from the lowest forms of ite? “Ontogeny recapitulates phylogeny? succinctly stated the zoologist Ernst Haeckel (Darwin's chief proponent in the German-speaking nations), meaning that the stages of embryonic growth compressed the whole history of the evolution ofthe species [Fig, 6 Hugely influential from the 1870s on, in science and in the public imagination, Haecke's radical “biogenetc law" sought to explain the common descent of ‘ish, amphibians, reptiles, birds, primates, and humans2* Kimts creature lyrically embodies this *monstrous” proposition: it draws on the tadpole shape, circular ears and eyes, and tal (what becomes the os coccyx in humans) found in Haeckel's chart of the developing embryo, Not content to stop the evolutionary line at mammals, Kimt intentionally referred to the lowest class of vertebrates. A source for the fishrlke being can be found in the images of electric or torpedo rays (down to the toothy grimaces and googly eyes) from the four-volume Mlustirte Naturgeschichte der Thiere (lustrated natural history of arimals) that Klimt had in his personal library [Figs 7,8, 15] Filed with detailed black-and-white drawings of the various classes of living organisms, including microscopic cell formations, these volumes are a previously undocumented source for the diverse specimens, structures, and decorative patterns in Klis paintings. The sharp spines on the back of the Raja clavata may have inspired the ‘riangutar shapes that issue forth from the skull above and dart between the two ‘-Antropagen othe Drvelement of Mar manna eros, fram Me Evluton oar sb iret Mach, 1879 “erp mamoata Risso rom usin Naegeschice dor rere cated Ppp Leople arn, 1882 Rajaclovaa Lon rm tire Netgear Thi, teat Pip Leopot Marin, 1882'8.Guste Kimt Posty, 1900-07 0 on canvas Colin aro the Great Hal fhe Users of Verma eatoyed by rein 1945, protagonists of Hope / in an amniatic field of blue [Fig. 6]. A figure of both the unknown future and the prodigious pas, the extrauterine apparition represents the developing promise of the unborn child, as well as the underlying thveat of deformation (fevers) or even death. The mother's calm anticipation, as Zuckerkandl observed, was heroic indeed; Kimt himself had recenlly experienced the death of his own son Otto Zimmermann, a about eighteen months of age?® Kim painted Hope / while working on Jurisprudence (Jursorudenz, 1803-07), the last of his university murals. In these monumental allegories for Vienna's preeminent institution of higher leaming, he preempted Freud's assertion that Darwinism was the second great blow dealt by scientific research to “the universal narcissism of men!” Klimt's depictions of Philosophy and Medicine ‘acknowledged that traditional metaphysics and systems of knowledge had been radically altered by the discovery of fundamental mechanisms of biological change. The principles of natural selection had revealed the false positives of both @ divine Creator and the immortality of the soul. The murals narrate the loss of transcendence and humanity's privileged position in the universe, wth columns of entangled bodies flowing ceaselessly in an indeterminate direction, Officials of ‘the university complained that Klimt extolled confusion, not lucid science; but in facthe allowed the latest research ino his pictures all too clearly, as evidenced by common clinical refrain: his art represented “the specitic medical field of ‘gynecology’; it was better “suited for an anatomical museum" of “a Kralft-Ebing institute The allegorical program of Philosophy [Fig 9] was given in a text accompanying its debut in 1900, at the seventh Secession exhibition: “On the left: genesis, reproduction, decay. On the right: the globe ofthe world, the riddle of the universe. Rising from below: the illuminated figure of knowledge? It reads as a virtual engagement with Darwin's closing paragraphs in On the Origin of Species, describing an evolutionary time, ‘whilst this planet has gone cycling on incommensurate with the span of individual life, and endless growth and procreation, kept in check “by the war of nature’ The shimmering figure of the ‘Sphinx represents the riddle of the universe" (or Wlltsef-significantly, asin the tile of Haecket's 1899 bestseller on evolution) While critics have focused on the Sphinx’ enigmatic presence, Klimt's purpose was to reiterate the answer to the ‘question posed in the classical story: the three ages of man, a mythic narrative now understood as the biological imperative of the species” Herein lies the materialist meaning of existence, as one reviewer pessimistically concluded: “Humanity remains just a too! in the hands of nature, exploited only for her own immutable and eternal purpose: reproduction’In Mecicine (Medizin, 1901-07) [Fig. 10], Kit likewise interpreted the struggle or existence as Darwin intended ita metaphoric survival against environmental ‘edds—and not as @ pugnacious armed battle (Kampf ums Dasein), seen in Hans (Canon's The Cycle of ile (Der Kreislaul des Lebens) installed in 1886 in Viennals \Naturhistorisches Museum. Cures may temporarily assuage bodily suffering, but famine, disease, and Death-here pictured in the lifeline of the throng—continue by nature's indomitable will Hygeva, the goddess of health, appears ina viscous garb of stylized golden algae, filaments, and polyps. Her origins as a snake transformed out of the primordial swvamp exemplify the kinship of evolutionary theory and recurrent myths of metamorphosis, making factual, as Gilian Beer has written, the imaginary ‘interdependence between beauty and beast”! ‘Significant, Zuckerkandl reserved her one criticism of Klimt for this work, gently asserting that he had “not emphasized enough the themes of eure and healing, which are obviously part of the meaning of medicine’ Her sensitivity pointed to ‘what was then a deep division within the University of Vienna medical school, between the proponents of therapeutic skepticism, who vaunted research and agnosis, and the “therapeutic optimists? Emil Zuckerkandl among them, who promoted the physician’ role in healing? "Nowhere is the evolutionary challenge to Christian theology more apparent than in Medicine's revisionist view of Genesis. In a provocative allusion to the Creation of Adam from Michelangelo's Sistine Chapel, where God's hand reaches out to touch Adam's, Klimt renders the arms of a mortal man and woman extended in vain the possibilty oftheir union left 1 chance. In Klimt's version, Woman, not the divine Creator, bears the generative power of life; instead of the bilowy cloud of drapery used to carry God in the Sistine fresco, she is borne on high by what Hevesi described, in 1901, as abiue-colored uterus mati, enveloping an infant or a late-stage embryo. For Zuckerkandl, Klimt’ university allegories demonstrated the ‘influence of contemporary scientific knowledge’ and his ability to probe the “endless ceasing and becoming’ deep beneath the surface of things: “The transformation of matter, for instance, is a scientific finding, which has changed four understanding of phenomena. In accordance with these dynamics, Klimt made the parturient wife central to the ideas of his painting. She represents the ‘enewal of life that wins over illness and death" KKimts interpretation of the womb corresponds to Haecke!'s widely published Images of the human embryo in utero, sheathed by a transparent vellum lining [Fig. 11]. The transparent human fabric appears again in The Three Ages of Woman (Die cre’ Lebensaiter, 1905) [Fig, 12], where it conjoins mother and child and issues forth from her pelvis, inscribed by the decorative cure of a blue ‘umbilical cord (a motif clearly visible inthe second state of Medicine). Next to this ‘ew life, Kimt sympatheticaly records the geriatric body, or what Zuckerkandl described as “the stupor ofa decaying organism in pain" smu Beaun 13 10. Gust Kin, Mesh, 1801-07 of on eam CCeiing pane the Great Hat ol he Univer of Vion espe by fre in 1845,In the late nin tury, images of scantily draped women served as a standard allegory of nature unveiled and possessed by male science, reinforcing the unequal power relation between the sexes Klimt resorts to this trope only in the figure of Death in Medicine, who proffers the ultimate truth from behind an ‘organza shroud, decorated with distinct circles and crosses in a binary gender code, Otherwise, Klimt dispensed with coy or theatrical unveiling, as evidences in ‘Nuda Veritas (1899) [Fig. 18], his manifesto of art and science as nature in plain sight. Here the u yell behind the womb and lower body ofthe allegorical female figure; the watery hue also refers to the domain of our ancient human origins in the sea. The fertile ine veil appears in a tadpole shape, formed by blue lines that daisy adorns her hair, while below her snakes the phallic serpent of classical and biblical myth, whose meaning is redoubled as a fellow vertebrate. On either side rise the luminous, globular heads of dandelion flowers—the genus Leontodon tararac 1, as Hevesi insisted on nating-which disseminate their seed through the wind, mingling the Secession's spread of new ideas with nature's own adaptive mechanisms: Ina reversal of the self-absorbed female, she holds the allegorical mirror up to the male viewer so that he might see his own reflection as mere flesh, but nowWithout the moral compass that governed previous depictions of nudity. Klimt's truth’ upset the traditional allegorical function of the female as a vehicle for @ higher ideal or spiritual transcendence because, after Darwin, the body in painting stands nakedly for itself a biological species subject to the same procreative laws as every other organism. Hence the frequent charges of pomography leveled against Klimt for both the public university murals and the Beethoven Frieze (Beethoventies, 1902). In the latter, he embelished the act of consummation in a ‘womb-enshrined embrace, the embryonic veil binding male and female in a ‘comman destiny as it swirls around their lower legs. “The final aim of all ove intrigues!” wrote Darwin, quoting Arthur Schopenhauer, “... is realy of more importance than all other ends in human life, What it all turns upon is nothing less than the composition of the next generation... . It is nat the weal or woe of any one individual, but that of the human race to come, which is here at stake” Despite the compositional diferences found in the third university. mura, Juispradence {Fig, 14] also elaborated the evolutionary theme, interpreting its given subject as the higher moral sense of the human species. The vertical registers in diminishing perspective mark the ascent of man's social instincts, from brutal impulse and vendetta to organized institutions of collective sel preservation: the courts of law. Man has only recently emerged from a state of 1 Gustav Km, Mas rag 1 ‘Oteectische Gale Beers, Views 4. Gust Kn cc 1 oon cans. Celng pane! for re Great Ha of te Unity of Vin, 16 -Ocopus wi Lamarck om Masts pp Leop0a Mar, 188216 Gusta Kiet. ethoven Fas, 1902, een eos barbarism, as late-nineteenth-century anthropologists noted, and Kiimt dew ‘most ofthe panel tothe dark recesses of criminality. He links the aged man in the dock and his deviant behavior to bestia! biological origins, invoking the return of the repressed with the tentacular embrace of a primeval octopus (a source for which is found in the Mustierte Naturgeschichte der Thiere[Fig. 16) The three Furies of archaic Greek myth, sent from the depths of Tartarus, symbolize primeval forms of penal retribution. They are, as Hevesi observed, allegories of vengeful, and hence lesser, morals from a remote time, “ike lemures in the twentieth century. Klimt conceived them with [Jan] Toorop's daughters and they bear their father's features"™ As befits humanity's rise to civilization, embodied in Truth, Justice, and Law above, Klimt's ornament transforms from the germinating papillae and writhing arabesques below to the structured circles, squares, and triangles on high, redolent of the already ‘cultured” Geometric Styl. ‘The linking of moral degradation to animal descent rather than free will comes to the fore in Klimt's Beethoven Frieze, where Typhon, the ancient Greek evil giant, ‘appears unconventionally as man, (The Devil in the form of Baboon is our grandfather" exclaimed Darwin in his notebooks.) The unwelcome ancestor had strayed into high art in the Paris Salon of 1889, with Emmanuel Frémiet’s sculpture Gorila Canying Offa Negress (Gorile enfevant une ferme), which the artist reprised with even greater notoriety in 1887." Klimi’s choice, though previously uncommented on, underscores the Beethoven Frieze as an allegory of ‘the struggle for happiness” in evolutionary tems: overcoming the *hostile” forces of nature by the altruistic virtues necessary ‘or the welfare of the human species. The three Gorgons of Disease, Insanity, and Death-the affctions of the body-accompany the unruly beast, along with personifications of Licentiousness, intemperance, and Indecency—reversions of the soul. These precise behaviors are the same three Darwin uses in his writing gorila (Fig. 16], a primate dangerously close to (on the moral sense, to distinguish savage from civilized societies. The resoluteight is compelled by the “intemal driving forces" of Ambition and Sympathy, the latter being the marker of true humarity, continues Darwin, since it extends the stiong desire for the common good beyond the tribe to all nations and races. Humanity progresses through procreation and the arts, Kit affims—the only ‘means of triumph over the inevitability of death, The narrative unfolds further by nature's omamental design, the lower realm aticulated by serpentine line and hairy flaments running profigate in a cavernous realm of reptiian motifs and snakeskin pattems. Sources for the gorgeously flecked and striated worms, winding and slung in several of Kimt's canvases of the period, can be found in his copy of the Mustierte Naturgeschichte der Thiere [Fig. 17]. Skulls dissipate into amoeba-like organisms forming the backdrop for "'Gnawing Worry? an anguished creature who sinks into the reticulated coll of despair In contrast, the kingdom of higher humanity is rendered in spaces of empty white and transcendent gold, where the biologically grounded spores, 995, and flowers obligingly disperse in regulated chythms and parallel trajectories ‘Kim's senses gasp the ivsible and immaterial in shapes and ines? confims Zuckerkandy ‘as he searches for the secrets that cover everything alive It should be noted that Klimt's iconography of the tee of lf, which first ‘appears at the base of the culminating kissin the Beethoven Frieze, and grows ino the main moti of the Palais Stoclet composition (Stoclethies, 1905-11) [see p.379 and 380 in “Klimt and Fashion’), consists ofa symmettical and horizontal branching structure; it follows the same arboreal diagram of diversification by genealogical descent published by Darwin and extrapolated by Haeckel in his -sprawing phylogenetic trees [Fig. 18) ‘The overly exaggerated facial features of Klimt's personifications also refer to characteristics of man's lower ilk: The snarls, sneers, teeth-baring grimaces, and furrowed brows displayed by Typhon’s cortege and by the leering visages in Hope | conform to Darwin's examples in The Expression of the Emotions in Man and Animals Distinguishing his approach from that of physiognomy (interpreting personalities from body types), Darwin analyzed the instinctive movement of facial ‘muscles as concrete evidence of our ‘single stock parent ancestry’ Emotional ‘expressions are not unique to the human species, but are reflex responses to danger and pleasure inherited from the lower primates. As if to drive home the Point, Kiimt surmounts the Gorgons with a repulsive female who apes the square= famed pose of the gorila, in the hulking attitude of primal attack or defense. Darwin's observation that the uncontrollable contraction of the facial muscles ‘destroys beauty, finds confirmation in the serene and symmetrical grace of the choral figures in the Beethoven Frieze, Their upward-turned faces and open palms ‘ypify devotion, one of the few learned or culturally acquired emotions that had ‘ot, according to Darwin, affected “the hearts of men, whist they remained during the past ages in an uncivilized condition’ Wms rom itv Mages cr Tre ted by Pip Leopld Mor, 1882 18"Gorera Morphlogy of Organisms: Woe ot Roptiast frm The Eslutin of an by Ere Hacc 1879Moving Wet 1808 on cava The more threatening themes of @ Darwinian worldview—namely degeneration and extinction—inspired ninetec ntuy artists, from Frémit’s libidinous gorila to Odion Redon's graphically black universe of despondent, mutant species. The heightened reception of Darwin in France after defeat in the 1870-71 Franco-Prussian War fed into widespread fear of racial and national decline: Closer to home, in the exhibitions oft ne Secession, Kit saw the works Max Klinger and Arnold Backlin, where a descriptive realism combined with fantastic storylines of primal urges and marine ancestry. As in Klimt’s work, the influences of Schopenhauer and Nietzsche only enhanced these artists’ pessimistic interpretation of sexual drives and aggressive social struggle.** On the whole, however, Klimt departs from the masculine brutalism of his Germanic peers. Grotesque breeds of humankind and fish, for example, appear oniy abecranly in the eatly Moving Water (Gewegtes Wasser, 1898) (Fig, 19] and Nixes (Nien, ca. 1899) [Fig 20], Nor do his women emerge frm a dark, primeval slime, in a metaphor of abject sexuality, as seen in the work of his compatriot ‘Alfred Kubin, Instead, ater the somber inclinations of the university murals, Klimt tuned to more lyrical expressions of what Darwin hailed as “the beauty and infinite complexity of the covadaptations between all organic beings! It wa precisely through omamental profusion-the visual proof of nature's. own superabundant diversity-that Klimt revealed the ‘inextricable web of affiniti binding humankind to the most basic of sing celled organisms: Inhis series of Goldfish (Golatische, 1901-02), Water Serpents (Wasserschiangen |, 1904-07) and Water Serpe 1904-07) [Figs. 21, 22, 23], Klimt bypassed the male-gendered gorilla for the sexually ambiguous ascidians:in the watery depths lay the ancient prototype of the vertebrate kingdom, as recapituated in the gills ofthe human embryo, Like Bockin, id paint ts! (Wesserschlangen J Klimt animates his worlds with “faiytale creatures? Zucke andlacknowledges, but the coloristic fantasies of his ‘magical waters" have no pees.“ Modern-day women lollin the shimmering currents, their slinky contours entangled with amphibians, fish, sea anemones, starfish, and algae, The cropped human forms create a flowing sensation that evokes nature's infinitesimally small and endless process. Whereas the imaginary hybrids of other artists fil the vanished “missing links" (nature does not make leaps, Darwin admonished)? Klimt deliberately draws out the morphological affinitiesserpentine lines and blooming ova—between the least- and highest-developed animals. The scandalous reception of Klimt's work derived not only from the iuption of the *Godless" natural sciences in the work of art, but also from his flamboyant vision of comament as evolution. This fusion of beauty and functionality was one of the most problematic aspects of Darwin's theory of sexual selection, introduced in The Descent of Man, because the presence of embellishment in nature, ranging fromcolor to song, appeared to qualify the purely mechanistic conception of biological ‘adaptation. Omamental characteristics were secondary sexual characteristics (male, no less than female) that determined inherited traits and the successful propagation of species. Darwin accounted for the puzzling amount of finery bedecking men and beasts alike; the devastating result was that the aesthetic ‘sense was no longer considered exclusive to humans, but commonplace in the ‘animal kingdom. 21. Gustav Kime lish 1901-02, ci on canvas Pate Calection23. Gusts Kn, Ver Serpents, 1904-07 ‘on cara. rate Catecton In Klimt’ fecund patterning of ine, aureole, and hue, nature—no less than woman— is seductively adomed. Preening males predominate in the courtship rituals of the lower animals, yet among the human race, Darwin argued, females have garnered the more attractive characteristics and compete for the opposite sex. Water Serpents |and I as well as Goldfish, visualize this biological imperative of beauty with decorative abandon and indecorous display of flesh. In discerning the most notable aesthetic preferences transmitted over time, Darwin focused above all on the hairless bodies and long tresses inherited and bequeathed by women. Dominated by abstracted shapes of pearlescent flesh and a prodigious flow of hai, Kim's compositions emphasize these two attributes of evolutionary design, Zuckerkandl, not surprisingly, reveled in her anatomical descriptions of Kim's sexually resplendent female: “The iridescent flesh tone of her slender body, the phosphorescent gloss of her skin the quadratic form of her forehead and the sinful, ginger-colored hair create a unified whole of the deepest psychological and painterly effect’™ ‘The single-sex community of beings, notably in Water Serpents /and il, court the petiod's fascination with lesbianism, but also allude to the hermaphrodite character ofthe lowest classes of animals. Kits enthrallment with humankind’s ‘aquatic beginnings extended to his extravagant use of mother-of-pearl~an ‘organic material derived from the inner shel of bisexual mollusks~in his portraits ‘of contemporary women. In his infamous essay *Ormament and Crime” (1908), thearchitect Adolf Loos railed against the Secession's “primitive” cult of decoration; pethaps what was threatening to Loos was not so much the erotic and atavistic element, but the notion of ultimate regression to gender anarchy and lack of sexual dimorphism found in the earliest forms of life? Darwin's intellectual legacy was imaginatively visualized in the specimen-rich installations of Vienna's Naturhistorsches Museum, in illustrated natural history publications like the one in Klimt library, and in Haeckels lushly colorprinted volumes, which did the most to propagate the aesthetics of biological forms: In his Radiolarian Atlas of 1862, Haeckel documented the diversity of single-celled ‘organisms, accenting the microscopically perceived structures with jeweled hues. ‘The glimmering shapes and flecks of gold that swim alongside Klimt's Nereids refer to the natural ornamental complexity of these normally invisible animals. An artist as well as a scientist, Haeckel sought the ‘naked truth” of nature's law of descent in the details of organic structure and the “morphological chain? His Art Forms in Nature (Kunstlormen der Natur, 1899-1904) furnished Art Nouveau artists with the gorgeous array of classes and species, such as the magnificently ‘embellished ostracions that may have inspired the speckled, moiré creature with luminous eyes swimming in Kim's Golefish [Figs. 25, 21), Haeckel was equally important for popularizing the link between Goethe's scientific studies of natural forms and Darwin's biological materialism’ While there is no evidence to suggest that Klimt officially subscribed to Haeckel's monism—an. ‘updated theory of romantic pantheism—he was profoundly influenced by Goethe. ‘Alma Mahler Werfel claimed that the artist was never without a copy of Goethe's Faust in his pocket. Goethe's meditations on the origin of species in the gloaming sea permeate the scenes of Faust, Part Two:"From dragons of the sea,in their swift semiey Braun ro 24A"Colozum nome! and 248 Acanomet’ ‘xpanim group, om At Forms fom the Oca: The Raton ‘As by Est Hae, 1982 25.*Osbacionts tom At Forme nature by Eiet Haeckel 1800-190828.“The Human 9 fom he Ova of Fa om Ma. 1b Est Haeckel 179, 9.122 courses, / They change with lissome leap to Neptune's horses, / So kin are they with elemental Ocean, / The very foam sustains their graceful mation’ Gliding fish and sea-folk, produced by the triumphant life force of Eros, course through the iridescent waves of opal and gold ike the artis's own Nereids: ‘Here lissome youthful beauties pass, / Seen two-fold in the watery glass, / Fairlimbs for gaze of pure delight” Kiimt's decorative profusion gave visual expression to Goethe's ‘omate verbal descriptions, resulting in the painter's often noted combination of realism and romanticism: "Never was a painter more fantastical yet truer to nature Hevesi observed” The “mysterious mix of nature's power and historical romanticism"®* that Zuckerkandl similarly perceived in Klimt work had another particular source: cells viewed through a microscope. Such images had been published by Haeckel, but through Emil Zuckerkandl, Klimt would also have had direct access to histology, the study of the minute structure of organic tissues. Furthermore, Emi Zuckerkandl had been asked by Klimt to deliver a series of lectures, at the ‘medical schoo!’ Institute of Anatomy, to a group of artists, writers, and musicians. Berta Zuckerkandl described one of these presentations, in which her husband apparently prepared the specimen stains and projected the images with lantern slides. The flattened shapes and colaistic effects were remarkably akin to the ‘ornamental microcosm of a Klimt painting: “Dear sits and madams” Emil Zuckerkandl began, “| would like to present to you art forms in nature. You will perceive them with awe and see that nature far exceeds your own creative fantasies. One only has to ald her a litle bit, and that is what | have done, With a well-thought-out tinting of tissues, a piece of epidermis, an artery, a drop of blood, a litle bit of brain substance, you will be transported to a fairytale world” It got dark in the room, Then threatening images evocative of the jungle and the shapes of malicious deep-sea Nereids appeared on the screen; the hemisphere was gleaming with the dance of sunlight, the shimmer of the moon and the stars. Everyone was spellbound by the splendorous make-believe world that Zuckerkand's fantasy had conjured” Histology allowed Klimt to gaze upon the fundamental structure of creation: the internal forms of the germ cell nucieus [Fig. 26]. Organic patterns af concentric Circles, pulsating with color lke coronae radiate, proliferate in his allegories of nature's fecundity. He also treated the blooming landscape lke a woman, Berta Zuckerkandl observed, just as lorescent ova are indistinguishable from flowers in Hope i (Die Hoffnung #, 1907-08) and several other canvases. The bodies of women are clothed by these fertile symbols or surounded in a field of germinating eggs and seminal fluid as seen in The Thvee Ages of Woman. one picture, Weter Serpents the biological omament progresses from a single-cellmotif to a chain of complex membranes, whose network of patterns ‘metamorphose from magnified human epidermis into snakeskin. The flattened Circles here and elsewhere are internally articulated by two long parallel shapes, alluding to the design of chromosomal division that had been discovered by the late nineteenth century. In Klimt’s oeuvre, the generative force of nature begets the creative force of the: artis, reinforcing the "male as culture, female as nature" dichotomy. Yet it is the male who occupies the lower place on the moral scale, as seen in the atavstic criminal of Jurisprudence and the evil Typhon. Woman, like ornament, assumes primary agency in Klimt’s worldview: ‘lam not interested in myself as a ‘subject for 8 painting!” he maintained, “but rather in others, above all women, and even more 50, in other phenomena Critics have described his omamental worlds as dream-like and narcissistic, yet such visual impressions are the antinaturalistic result of an obsessive empiricism. Klimt’s evolutionary narratives place him in the fluid post-Darwinian, pre-Freudian cultural matrix Egon Schiele instead, would be the painter of psychoanalysis. From the female as progeritor of the species, Klimt went on to depict contemporaty women patrons, whose refined aesthetic judgments contributed ta the artistic brilliance of the Hapsburg Empire." The biological role dd not prevent cultural ones, as his circle of women collectors, and Zuckerkandl's formidable reputation as an art critic, affirmed. In these later portraits, allegories of organic ‘evolution give way to the evolution of early civiizations, to new stylized shapes derived from Mesopotamia, Egypt, pre-classical Greece, and Byzantium, Here, too, Kiimt’s choices of motifs indicate his knowledge of the latest discoveries in anthropology and archaeology: The ornamental accompaniment of the portraits does more than adom these women: it represents a larger history of ideas ‘concerning the genealogy of decorative and symbolic Form. Kimt would have known the lectures and writings of Alois Riegl, professor of art history at the University of Vienna, wino appended his name to the artists defense at the time of the mural controversy In his Problems of Style: Foundations for 2 History of Omament(Stitragen, 1893), Rieg| argued that Geometric Style designs ‘were the first autonomous product of the aesthetic urge that separated culture from nature, man from other animals. While Riegl denounced the determinism of Darwin's followers, he followed in the spirit ofthe original, demonstrating thatthe seemingly endless variety of motis-the vegetal tendril and the modem ‘arabesque, for examplewere related by an internal development and underlying homologies But what of the singular pictures by Klimt where woman is undeniably the pleasured arbiter of death, his two images of Judith? The literature has assumed ‘enity |RAUH rythatthe myth serves as a pretext for the real subject of deviant female sexual The paintings have been repeatedly and erroneous tiled Slome, even though this was not the artists intention. For what isthe actual message of Judiths story if not the survival of the fittest? The Jowess—this is the etymology of the name .Judith—took whatever means necessary to save her nation from the Assyrians. (And Klimt took pains to decorate the background with a historically accurate ‘Assyrian reliet)*In ferociously anti-Semitic fin-de-siécle Vienna, surounded by a mainly Jewish clentele~including Adele Bloch-Bauer, the model for both pictures-Klimt must have been aware ofthe Darwinian implications of the biblical narrative. By the time of his death in 1918, however, evolutionary theory had undergone its own perversion into social Darwinism and racist eugenics. Klimt ci not ive to see the Viennese Jews lose the next struggle forexistence. Otto Zuckerkand's wife, Amalie (whose portrait Klimt rendered thanks to Bertas introductions), perished after she and her daughter Nora Stiasny were deported in 1942 Berta Zuckerkandl had escaped in 1988 to Pars, where she wrote her ‘memoirs, and then made her way to Algiers. She died in Paris after the liberation in 1945, Her only grandchild, Emile Zuckerkandl, Professor of Biological Sciences at ‘Stanford University, became a pioneering figure inthe study of molecular evolution. Translations from the German are mine, unless noted otherwise. For ther help in translating the writings of Berta Zuckerkandl, {thank Susanne Ruembell and Luise “Mahler, who also worked as my research assistant on this project. am grateful for conversations with Leonard Groopman and Roger Persell an evolutionary theory and the history of late-nineteenth-century medicine and biology. Additional appreciation is due to Stephanie D/Alessandro, Veronique Chagnon-Burke, Lynda lich, and especially Lucia Re and Anna Jardine.ores: Rese Love Dariim and Foire: The Woran Question’ theLiteand Werk of lve ‘Senor ane Chaat Ps Glmar in Te Wise Dario xaionay Thou ads. Onv (toy an Largan (Boston and Dordt, Rid, ES), p. 119-31 a he sare vlan, Se Ercear Ris ‘Dare and he Descent o! Woman pp. 87-1, fran ana of tara Darisardocersc bass prosucto is Vetrien tres. Kinesimapeshaveaften been consderedntandem th he arb Seite rengynt ens! Oo eninge: orusedat eiderceinoninstevons of Freud rtpetaton feral sonal a5, fo ‘ana Eo Stan, complssod Salon (airno Salen, 1980} Maree Anger The Discouseon Fae Sowaliyn Ninaterth Century usta Asha mene Nneterth ae Tien Cons 0. Dad Good Margarete Gann and Mary Jo Mayne (Oso Bargratn, 1806p 179-95; an Argelca Baumer, Gusta Kin Women rans. Ewald Ose (London: Woden sed Neston, 1086) Tho essay harenoffrs amore uatcad ow Kins logical used mots haede sent ajredy Alessandra Cin, Gustin New Yoke Braz, 1575) Wear Hoan, Gastar Klin rans ng Goodin (New Wrk: Graphic Soi 171) mt ininaey wine Zocetanls rho ic noweve begs amet rgraneatreasing ths ierogechy as secttespnseo Davina des Snir Ki’ content apeliation ol welabnayheary=the eas of bot rataland sous electon—quaifis te viw proposed Car Shashi Firde- sel Vrm: ote and CatsetNaw York Kron, 8D) wh ses a cate reakbeteen Klint’ secily contd uohesy nual ar haotea oh se crarenta cavaces ‘Bors Zckarkan, “Sst Kt Zur Ectrung sone Assolun (On he oping of his esition, Were Aimee Zt Nove 1,108, ete (and misdeeds 1908) m Zucherkand Zits Wr, 1001-1907 errs H Hale, 1908) p. 85-93. (Or Zicterkaat’ salon ond hare as power rckar ad uta organ pro-Word War! Venn, sry Ee ard Er rau, The Powe of Carvers Jewish Women and Ter Salons in The ‘Pero! Canvas: lowish omen and Tht Sore New Haven CT Yale Unerty Press, 2000) 7 85-96 As alnys, aindebied o Emit Bk or her pacou colaboraton and browse of Bata Zucker (Ost Hering "Berta Zckakar (1854-1045) oer Di Kunst webiche Diplomate in Doe aes wa ‘oh: PatoinenKnstrnnen, Exenterien dr Wiener Madore. ed Frauke See (Varn: as 108) p54 oe aleo Gee von Este," et nach Ewapal-Bers Zucker Weer ‘Son in EropsEn Slr? Beige 2 arate es trace Stars eds Roberto ‘Simao Hort Tc an Tomas Sem (Gatnger Walton 1990) pp 191-213 Lug Heves,"Zum Glen uckekand, Zens Ver, 1901-1917, pp. vik Bera Semps Zucerkana My Lil snd ety, vans Jb Sommers (ordor Casal 1938p. 143-44 and “Gust Kit Novos Wine Jura Ferny, 191,Zuckerkands pola acct of Kits retacton otis university mural, ‘De Kit” The Kint Atta), Wen AlpareneZiurg At 12,1005 tartare epniadin Append inthis vole Besides wing regula clan othe Were Aigarein Zetung andar Vers War .th Neves Wine Jounal Zokekand wasn stan ‘eaespodent fr the Geman a paral Di Karst Ae (Die Kars and Detsche Karst Dotson Sh azo corntuta othe SecessonjunaYorSacum Hemsi"Zum Gel pvt “Zickrkaa My Lie and Histon pe. 142-43. adton tothe nunerove aso to scence ard ‘garese ology in Beta Zucherand rit her cussions of Kilt we tare within a Fatoraatsecauseardronan fequet mural adage [Eni Zickehanl pine he medica facut (888 20 Ema Lady, The Vem Mose! Schooloihe 19 Cer anor, MD Jobs Hopins Urey Pes, 1976), pe. 4€0-64 Zucnekand who dtd undr he force Jove Het pubes Nomal and Pattaial Anatory fhe Nasal (Caniyandits Pert Appendies enna, 182) wich hac an enarmaus elect on he ‘zveogmentt madam hilo According to Lest. pp 408-4, Zuckarand was aboved ond ‘lecve teacher and ues the nos ee rth inthe ei "precesiptne oi phog ‘amparsve tony ambysoghantvopoegy ans especialy topographeal anatomy He research ‘cna th publeton ol Ms four-wume Ala o Hanan Toagiaphicel Antony na 1800-1008), era Zocketand, Oster inti Ertmeungen 1892-1942, Reid Federman nr Prprden, 170) 132 ‘emiuy BRAUN ws11 dames Sheel Ata Soci The New Aa Movant Vena 1897-1017(Pabo Ak, CA: Socty for tn Promotion of Sloe and Sela, 1981), pp. 121-22 Shadl sugests het Ei Zickrkanl wa ha anonyoue peso’ of modes tealued nan ten nthe Aber Zing ‘March 29, 960, wh poston nsf gant he et of heures, Dx Wiha Nouann or hi protest agate Kit rare. Acard Barts Zcrekan, Csr nin pp 69-04, Er Ind he fan dfense of Kies murals ar calle on the at ister Fane We hen in Rem, to dover is favor pion When anata facil chat potsiea tat Kit had edo tokeon ht Raph! had chee fr een El Zuchertand espnded tat he idea of he nvr a ‘adealy changed snceRaphon'f redcne, pleuophy ad jurprdence have al pogressd sree the renisance wy canola soe os WOE? 12 Ft Nowiny and Jeers Dab Gust Kit With a Caaogue isonnt of Pains (onde Yr Tames and Hoon Prege, 1068) 383, chorale fr TERT: nator! snes under Poser El Zucherkandin the zacog oo 1. Zacsean Ose intin pp.24-25 recounts ovring al he ler Stars wher he trpessad Ns rusaion wth ison dein opus tances to Er Zucherkand Bats account bet of tha medal roo, "Men, Stat er Hens fund onpp 49-65, and “Seyund Freud on p. 84-6 See le ner My Lie ans top. 126-28, 132-83. On th ais Instrous doctors th Zachara cl an Lasky, The Vienne Mecca Scholl the 188 Gant Thermaden Viennese model enol wis foundes by he pathlogst Ke von Rita 1808.4 1870) whowe therapeu skepticism was profoundly uence by Dawns theres of evaion an by Artur Schoperhaueidslm and pestmiem See Mak Lupech "What Pope Ca sion’ ‘Smund Fe Arthur Sctnios a Nietenty- Century Conover at the Urey of Vn Maat School eraée,CA Aide rss, 1091}. 3 1 See Aled Kelly, The Descent of Dan: Th Papuan of ars i Gran, 1800-1914 (Chapt Unversty of Noth Cana Pres, 18"). 15. Zuckeand, Myile and Histon, p. 194-98. 16. Hart Anderson, an Ferns Women's Movements in Fe Sle Venn Now Haven CT: ‘ole Unverty Press, 1902p. 9, oes ha trea iis was al i ime sly reseed for le tcp of ta morament by opponais. cud he tro th cet El Zucker ‘vas one a women on he commie othe Asoc for Extended Wms Edson ad ho lecued on aatony at ho At Seon! Associ er Waren ang Gi andthe Abend Assostin fe the Hiding of Academic Cour for Waren are Ges (9p. 18-10, 28) Aroor aco ers was tho phosoheFrsdichod wha, Ral hough he wa spoke ou prone gars Kis versty murs 17 Zacks My Lilt rst. 195. Inthe sae passage on Eis plonoesing eters on behalf women sani she cntnute" .. when his endeners were owned wth sucess nd women were [Smted othe meical facil he was the fst to ence 9 wera ori ssitnt-FrauDx Bon who xbssquanty became one of he mor frou of cients doctors Touble arose fom sat he vy Fret, when De Bien a at ial foran asta dure on anatomical ocho akerourd ropaedspoctons of he ergara thal wave big dscssed The gan nquestan Wee tage Which ‘we not usualy entonedin a gtherng of bob sexs Th stdorts aga io shoul ad sb ad rots. Zickel et forthe ptr to tom them cut of he tue asthe stan lt protest troy mace 18. Andean, Upon Fine. 246 Rosa Meyreder on artt and te founder ofthe At School ‘eso fr Warman ad Gifs, was marie tthe rite Kai Mayedecn whose frm Al Leos sorted in 1896 n 1900, Loos desgne he hae ere Vanna trons Cb of which Barta Zucerkad was aember A year ate, he space fc the VerneseSeterent Asean (a mie ‘as ourach progr fr proltanan fare) wa atta by ose eran Kalman Nose a ‘Aled Rll, See Anderson pp, 6 109,112 On Berta Zucker’ latnshp othe promessive {General Aienan Wome'sAezcaton ncadnghor tr on fashion fr the una Dokument er Fen, see Ardeson pp 61,110,113: 0n Rose Majed se Shoal, Art a Soy op 16-58 19. Among Zusskanas erence wre on fasion fr he Wane Algerie Zeta, expel othe inlbence of he Rint Gapped te exchanges between he Wene Werte ard Pal Poet ar “Karst und Kar Whoo Wt Klip 29,1911 Be Paul Pret! Nvenber 26, 191; “Feuielor Oi Canaence von Paul Porat Novobe! 27,191 Iyand "Pas 1912 Von Kanu Knstriche Mode (Una und Poet! February 24, 1912. See also "De WanerMoce-Asstelung Dutsche Rast nt Deora ek 38, Ae Septonbe 1916p. 79-81; "Pal tte Kl -Grppe leu Won ura Novenber 25,1928 and Osten 100-104 20 Bora Zura Kinst nd Kulu: Die Hofhungt Wen Aigemsine Zoning. Api 28,1008. The iso the consoverysutourdg he pating ands ehiion are dele n Jon Cli, Kt ‘ee tN Docimertatn ad Roper? Andon Galo Cara Review vol 2, 2001,0 127-08. anannes Dota, "Gusta Kits "Hape ulin, Natl Galery of Coady. 118712 tes that ‘ui Hong is an ld Garman expen equivalent to he English saying to be ‘pecn—amearing that tin theta Wanlton Hope Schorske, Frit Vora, p.252, ators othe pining ax Erect ikea, "Kast un Kul Hotrang fering to AM Pachinges DeMatha in dor etre und Grp (Macey Georg Miler, 1906) Zucker gue was sy ‘erwin snce ony wo cut tha ruverausikatatens the bok depicted pegrant women intherace 22 Chetes Dawn On the Orig of Spies by Mean of Mata Slaton (860) publahed as The Orin of Soacis Landen: Pong, 1958, 428 See soo Darwin, Te Descent of Man, ard atin eon Sex (1) (Landon Peru, 2008) pp. 21-28. 28 Debs: n“Guster kts Hope pp 2-15, corto he tool” shape but does nal ennai A smal presentation ofthe developing fets, even ashe aka he smb rs mtn Kis dene ad henstto ro graphicaly expt emacs dope by Ay Bendy Hore Beg ‘New i, 893) and dard Munch (Magooa, 1808) He does, though suggest (a 10) hal Hope ay hme toons protestant Veto epee facts of et 24 Eins Haeckel frst expounded is theory n Genera Moots dr Organi Bein: Reine, 1260) Aer epoiion funda The Eon of Man A pur Esposion of he Pineal Po of ‘Hunan Ontogeny ar Poor, 2 os (New Vr. Alten aC 179.0n th isto he ‘heats of mechanisms for recaps, 26 Stephen Jay Gala Ontagery and Phyogeny (Canoe MA: Harvard Univer Press, 177). ould pp. 76-T8 roles tht a Hache ater werks became nreasigy matical ar raion heoeso acl pry fd inte Nabona Socal, 2% CinstanNetenay Gusts Kit Oolurentatin (enn: Gare Cisian M Neb 1200) p58 ner "KimisBlotok state Nakrgeschche der Th 4 vol ena ed Phi Leopld Mato ol: eoeknaus, 1882-8, Sisana Patch Gust Rit Printer of Wen (Munich: rest, 1904) p58, 66, Sgmund Freud Difeulyn te Pa of Feyhonnay" (1917. an discussed by Gian Bee, anv Ps Evatonay Narain Dara, Gage Et ar ieteont- Cary Fon (Landon Routege and Kagen Pa, 1989). 12-18. Fests re bln ar he cosrelogical (Copernican thea) toga anv) nd psychelogeal reudanpaychoaray) Inti int croeigy fr 187 Dba Nooiny and Dot, Gute Kit 389), etn tho In uence of Darwinism onthe ais ut das nat elaborate inher 8807"2u dn Faster on usar Kim ABerina Sts ra. 4 (1968). gp 144-48 Ace Si dacsses he nuance ot Darin on Hans Care's The Gc of ile (Der Kis de aber, 1884-85), ut does nat conser *or Kim's unersy murals Jue Viktor Cats tarsited Darwin he Org of Specs 1858) ‘ad The Dosen of Man (187) a5 part of Chars Dwi guste Vv (Stiga Schwert 1879-78) As Kall eso of Dan ite (p57 Dar work were rot as wid readin Garmany ae wore those of Ns ples Daria was associated wih ral and t= wg g0ups ct te woes mover ard aployedin tee pu fr socal eos Gen ‘carats withthe score earmungitis that Kin read Darin cect a wells Hach, ‘re though. as Boe wien Downs Pa 6)The question of wh ead Darn rhe a ‘wera ead Darin becomes ony a acon he answer. des pass more rail the Sate of asumgbone whan hey re reat 28 Free von Ox“ il tana Krell m Kg. Ghaplat ns Munchen Ce Aas ir Ate (Ot Rost wl 16, 1801p. 542; and se the elective crcl dering the unr ures and the Beaton Fina gator n Horan Bar, Gayen Ait Vem: Eisenstein 1208). 20 Tioty Gantz Ey Geo My: A Gude fot and isi Sear 2 (aloe MO: Js "opis Units Press, 1998) p 406. Kl amo a¢ he wae wthclssical at proba row ha the ie fest appears nto fourth canta with keds: o-footod ad fourfted and three foots upon the eat tha snl vice and sre of a hos on doin the a rt changes form And when i goes supparted on he eet hen he speedo tins weakest Ihc ary Mose tr hs refreace 21 SB ‘my BRAUN wrgees ee 8 88 0 0 “ « “6 “a Anonyme eens "Persona-un-Ail Nacho’ Di Kant Ae (Oe Kao 18, 200, 9. B00, Lidwig Hevesi dszpion of ios was alsoreete wih melhor of ign and the ‘suger evistence; seth alton o his ess in Cisan Nebohay, Gustav Ki From ‘Drawing Panag (Now Yor Aeans, 1994) 5.69 Beer, Dai P=. 9. Bora Zuckerkanal “Wares Aussalings? Di Karat ir Ale (Oe Kune 6, 1901, 268, Loprecht “What People Cal essing. 1-50. Lusi Hovey ctes i Dob “Susta Klmts "Hope pp. 7 ard 16,0 24 Zuckertand Gite Kin: Zu lung sis Atl? Bera Zuckerkanal Kunst nd Kutz Di Kineton I908" Were Algerie Zur. ne 6, 1908, dri Jorarova, Seal Von: nage ol Gender Secs a Madi Bean the Exghoenh _and Ten Cotas on orc Haste Whestshea, 1989) expec chp "Nate Unveling Before Science” pa. 87-110. Ludi Hers eps Nba, Susie Fom Drawing Paring 91:26 aio Nowy ‘na Dob, Gusta Kime p 382. Darwin Tr Descent of Mar. 653, ‘Ludg Here "Goldene Ganszertisie (10) rapt in Oto Bil a, sr Ai che gatlere Plo: Wark Wasa, Wig: Br und Shen 2 Leben und Werk Sali ale Wa 1078) 72.Contring he metaphor of hybrid arcoeet xg, Hevesi notes natcenscencee epee by the mahiy git pol. Hs shins pacied th sot ust he age dpa tiger ofthe moet rovelcentncton? shames Moot ad Aan Ouse quoting Daw otbooks of 1897-28 tha idton tis Descent a/ Men pt (nthe iconography of he ape in the ine as and poplar clue snce Darin see Te Gt Ks of ‘ho Bows South Bisban Asta: Ouoonslans At Gey 2006). hark Douglas Onc or he relerence Dann escent of Man pp. 142-#3. Kam program fr the Beetaren ize pubs ithe XV Secession easloge rept Novy and Oo Gaey Kn 9. 307 Zucharhanl “Gute Kim: 2 tounge Avior? (Chases Dawe, The Eres oth maton in Man nd rine (1) (hag ery of (Chicago Press, 195); se especialy pp. 14,218, 35 Darwin whose book wae pushed Geman 1877s Der Avetuck ty Gamitsbewequmgen bl dem Menschen und don Taran based many ot hs bseraton onthe experiment of Gllaune Ducerne the aur o Mécanisme dea pysionomie ura (1862). who tok rotgraphs of ete af ect prompting of tefl moze. The ‘wo cow dteetconsns nowere: Batra Larson Evlton and Degeneration in th Early Wk of Oso Reson’ Nineteen Cony ‘Ar We Wd 0 2, Sing 2008, Spi, The Din Eet Evhion and Nneieorih Coty eval Cute, ods Linda Noh and Maths LS ao Marna Lucy The Evelitony Bad Refguing tre Nude Pest Darwinian Fench At PRD. striations of Fire At New York rivers. 2004). ‘Seo Masha Marto excelent estoy “npulses ar Desires Kinga?’ Darwinsmin Nature and Sexi Nineteenth Canary At Wie Wa 2, Sing 2008, Dans. gino Spec pp. 153.415. Themetaphoe espsclyof Danis dew of tice ac ts Intuence on ate-netoeritrenty Herat an taught ae broly abratedby Bean Danis Pets especialy chap, 3,Aralony. Netapht. and Nara The Opp. 7108, Bests Zickerkand Yon Austengen ard Sarmlurgen’ Die Kins fir Ale (Die Kart 19, 1903-045. 163. Darwin Ongie Species p. 238 50 Dewin Desc of arp. 668-7, Zuckectan, “Gut Kin 2ur Ertung ses Austng? {52 Ado Loos “Oran and Cine” Te Artec of Ada oo es. Yea Satan and Wied 39 lang (London: Ars Court of Great Bits 1985), pp. 100-103 Fr sigh ert intrrtaon| ol Low far of stom Inked Cesare Lantrae' rin antopologg eee Jy Canales ane ‘Aaciow Hesehr "Cri Skins Taos and Movers Arete the xk of Ad Leos? ‘Architect History 4B, 208, pp. 235-86. ‘rita eec-Oar Das Hs Wonder: Zr Geschichte des Nehistorchen seus in Win (enna Hozheusen, 1998), ents Natshiorechs Muceum designs by Gottras Serge, ‘ORNAMENT AS EVOLUTIONopened in 889, Darvin waste only hing rable ob epraseied ang the states adoring he ‘oak whe a cop of The Descent a Man wa. doped he tr raz decoration by Vito Tignes ‘The!mseun's oings wre hn epcmenecolectod during to 857-59 cumin of re te bythe SM vara an ustln aa gate: El Zuckrkoal partopated inthe aaogsing ot the Nena expen (Ree-Dor pp. 100 187-88). met Heckel At Forms om the Ocean: The Rotarian Alas of 1862 with an induc ey ty al Beach ew Yor stl 2008 and Broach Von of Ase: The Arta Scien of rt Hace en Yk: Pest 2006) See also Eka Kaisa, "invnce de Est Haeckel st oven in Jean Clic a, Line ay coe: Arse Sciences 1788-1999 (Pars Réunion des musées rans, 1299) pp. 942-50 ard Paul roeralgh ed, A Meuron 1890-7914 onde: Veto sed Abert Museum, 2000) 15 Est Hock ne of is ast tient peoesluon tacts The Daprer of nes Thee Ceckres “on nbn ns neh Mca es MS gen Bose, 1905.6. wa athe tools” areola see to cover th nakad uta eyed by the re rest ot Inodom scence nich here oleager ay do tha mans ely a descendant of the ape" 15. efererces to Johann Wofgang von Gace and his sceverent as anevlicnay thers ar ound thoughout Haochs ets; een parca Ihe Ht of Creator te Development ote Ext) rds haben tye Acton of Natural Caures (New Yok 0. Aplelon an Co 1892. 156 sonann Wollgang von Goethe, Fast Pt Ta, Pip Way (oro: Peru, 1959) p44, 116 Aa Maher Wer Man Lber arr Fischer, 1960p. 7 Bata Zuchertand makes the campartanbelweor tho yourg and beaut women of Gate's Faust and Kits dpicton of te Fares in lrapesecein Yon Auzetelungn ard Sarre ps 102 eves ‘aldo Gewssesbiss’ p72. ‘Berta Zckehanc Kunstctay 1908 Want Were Ayre Zetng, Octobe 1, 1908, 2ackrtard Osteech nim p 193. ‘Gastar Kit queda Nebo Gut KiFom Daring to Painting 208. Tosa ate and Gort Fed ed, ts Wm (Wona/New Haven, CT Ostereichische Galore Behe; Yale Univer Pross,2001) ints nme eppepabons of predaroal sources ae wel documented in ME Marck MYNE ebithr Gustav Kits Pas Soot Fez: New Coneirtons ots EgypinsngFom and (Content At atin yh 74 March 192 pp |15~B4Lis Flrmar "Gust Klan he Precedent ‘of Arc Greece! At ule 72, ine 1990p. 310-26 Feman argues forthe infence ot ets on Kits peetencos for anarchic orameral str Lost mt Kock urd de myenschen Funes Mergen der Osenechiahon Gal a1, 1968p. 16-40 163. Ac igh Probie of Spl Foundations oa Histor ofOrament rare Evel Kan (Pier NI Preto Univers Pres, 1902) expel pp 4. 21-78 228 vari Mythic Reb in Gust mts Soc! Fee! folowing Last Kokosia ud ie mienischen Func al posts he Intra of Ry on Kit Aart Watgang Kenp is sized Rie, Te Gop ‘Pott of Hands Angles Getty Reseach Insilhe Hater ct tan the Hara, 1968 p21, eg tock Kits supporter: he uty (where taught rom 1897 to 1908) ring pcre opnon tutorial sere hesitation {6 Con Gute lp 2 As Com ha hou te tockyound of Jud is based onthe ASN alc eet of Semachers (5 See Nate and Fd Rie Women pp. 146-47 The pvt of Amalie Zuckeanleained tino, gh he ast was po An corveredo Juda when she maid Oo “octane 1856 ey deen 1918, lt had ale pated te Prat of ola Zcherka, ‘tev ota in 1912 Se Novotny nd Doak Guta Ki nos 218 and 88. ad Pas “Zahra eran chs, abl de in 1927 The poral of Paula etn storage Bern, ashy desjed dng Word Wr wh the Alled bombing Another ster-aw of Be’ ‘are Relih who was the ster of Emi Oa and et was deported wi her dager Mati Scho 1941, See Sophie, Vs ema wa: Harabuch dr entire estan Wiens (rn: Cron 2008), 9p 920 ans 1258 esses 8 smivy BRAUN we