Iconographic Program and Symbolism
“Three important innovations can be observed in Gustav Klimt’s
Beethoven Frieze: the two-dimensional depiction and the monumental
isolation of the human figure, the expressive use of the line, and
the dominant role of ornament. Klimt’s participation in the
Beethoven experiment marks the beginning of his famous ‘golden
period.’ Today, the monumental allegory is seen as a key work in
the artist’s development.”
(Marian Bisanz-Prakken, The Beethoven Frieze by Gustav Klimt
and the Vienna Secession, in
Gustav Klimt – Beethoven Frieze, Vienna Secession,
2002)
The theme of the frieze is based on Richard Wagner’s interpretation of Beethoven’s Ninth Symphony. The three painted walls, beginning with the lateral wall on the left, lay out a cohesive narrative of man’s quest for happiness.