The Theoretical Steppingstones of Klimt's Artistic Transformation and His First Programmatic Paintings

Establishment of the Vienna Secession in 1897 was a seismic cultural shift that left a profound imprint on the capital. The choice of Gustav Klimt as its first president was no less significant. It was not made solely on the basis of his exceptional artistic skills but primarily because he had something meaningful to contribute—he was one of the most motivated and persuasive voices advocating for the urgency of change in the realm of Austrian visual arts. Surprisingly, there is an unspoken presumption in the literature that Klimt lacked any theoretical foundations, and that the transformation of his style occurred almost miraculously, without any intellectual grounding. Such assumptions are unwarranted. This chapter argues that Klimt was well-versed in contemporary art theories, although a select few played a pivotal role in shaping his artistic transformation. Among them were, first of all, those of James Whistler; but equally those of Franz Wickhoff and Aloïs Riegl. Thus, as the chapter explains, through actively engaging with contemporary critical discourse on art, Klimt was able to formulate his own theoretical framework and this underpinned his stylistic evolution; on a broader scale, he was well-prepared and resolutely determined to guide others toward new artistic heights. It outlines the main theoretical sources that informed and supported the formation of Klimt's ‘unwritten’ program and reexamines his key programmatic paintings produced during that decisive period: Pallas Athena (1898) and Nuda Veritas (1899).