Schultheiss D
Urologische Belegabteilung, Evangelisches Krankenhaus Giessen und Gemeinschaftspraxis für Dermatologie und Urologie, Friedrichstrasse 21, 35392 Giessen.
Urologe A. 2007 Sep;46(9):1005-10. doi: 10.1007/s00120-007-1533-0.
The art nouveau painter Gustav Klimt (1862-1918), a cofounder of the Vienna Secession movement, was commissioned in 1894 to prepare three ceiling paintings for the Great Hall of the University of Vienna portraying the faculties of "Philosophy," "Medicine," and "Jurisprudence." After the first public presentations of these paintings starting in 1900 fierce protests erupted since the artist had not painted a historical allegory but rather had created a modern symbolic picture in the Secessionism style. The controversy over the so-called faculty paintings escalated to the point that in 1905 Klimt irrevocably distanced himself from the commission and bought back his pictures from the state. The paintings were later purchased by the Austrian Gallery and in 1943 placed in storage in Lower Austria at the Immendorf Castle where they were destroyed by a fire in May 1945 when the German troops withdrew. Besides Klimt's preliminary sketches, only black and white photographs of the three paintings now exist as well as a color reproduction of the section depicting Hygieia from the "Medicine" painting. Due to the public rejection of the faculty paintings, Gustav Klimt broke away from official government-commissioned art and focused on private clients from among Viennese society. One of these intensive associations was with the anatomist Emil Zuckerkandl and his wife Berta, who was very active in cultural affairs. During the dispute over the faculty paintings, Zuckerkandl was one of the few university professors who signed a petition in favor of retaining the paintings. His brother, the industrialist Victor Zuckerkandl, was one of the major collectors and patrons of Secessionist art. The third brother, the well-known urologist Otto Zuckerkandl (1861-1921), president of the Second and Third Congresses of the German Society of Urology in 1909 and 1911, was also in close contact with Klimt. A portrait of his wife Amalie was a work in progress between 1913 and 1917, but it remained unfinished.
新艺术派画家古斯塔夫·克里姆特(1862 - 1918)是维也纳分离派运动的共同创始人之一。1894年,他受委托为维也纳大学大礼堂创作三幅天花板画,描绘“哲学”“医学”和“法学”三个学院。自1900年这些画作首次公开展出后,引发了激烈抗议,因为这位艺术家没有绘制历史寓言画,而是以分离派风格创作了一幅现代象征画。关于所谓的学院画的争议不断升级,到1905年,克里姆特不可挽回地与委托事项脱离关系,并从国家买回了他的画作。这些画后来被奥地利美术馆购得,1943年存放在下奥地利州的伊门多夫城堡,1945年5月德国军队撤离时毁于一场火灾。除了克里姆特的初步草图外,现在仅存这三幅画的黑白照片以及“医学”画中描绘健康女神许癸厄亚部分的彩色复制品。由于学院画遭到公众抵制,古斯塔夫·克里姆特脱离了官方政府委托的艺术创作,转而专注于维也纳社会中的私人客户。其中一段密切交往是与解剖学家埃米尔·楚克坎德尔及其妻子贝塔,贝塔在文化事务方面非常活跃。在关于学院画的争议期间,楚克坎德尔是少数几位签署请愿书支持保留这些画作的大学教授之一。他的哥哥、实业家维克多·楚克坎德尔是分离派艺术的主要收藏家和赞助人之一。三弟、著名泌尿科医生奥托·楚克坎德尔(1861 - 1921),分别在1909年和1911年担任德国泌尿外科学会第二和第三届大会主席,他也与克里姆特保持着密切联系。他妻子阿玛莉的一幅肖像画在1913年至1917年间一直在创作,但始终未完成。