id	author	title	date	pages	extension	mime	words	sentence	flesch	summary	cache	txt
elements-9377	Flythe, Benjamin R.	Dreams and Sexuality: A Psychoanalytical Reading of Klimt's Beethoven Frieze	2016	8	.pdf	application/pdf	4749	221	61	The German artist Max Klinger had very recently completed a monumental, polychrome sculpture of the composer and, “intent on being the first venue for the statue’s display, the Secession approached Klinger and proposed to venerate his masterpiece with a new, avant-garde style of exhibition…”8 Their proposal made use of the unique opportunity afforded them by the Secession building; called “Tempelkunst,” they offered to feature Klinger’s Beethoven in a space specially constructed so as to highlight the piece, paying homage both to the art- ist and Klinger himself—all the while highlighting, of course, the art of the Secessionists.9 It is my suggestion that Klimt’s contribution to the fourteenth exhibition, the infamous Beethoven Frieze more so than nearly any of Klimt’s prior or later works, is one that provides an abso- lutely critical key to understanding the psycho-sexual crisis that contributed to the artist’s radical shift in style. [Be embrac’d, ye millions yonder!/ Take this kiss throughout the world!/ Brothers—o’er the stars unfurl’d/ Must reside a loving Father.]”10 Ernst Stöhr, a painter and lesser-known Secession artist, evidently helped Klimt devise the program of the Beethoven Frieze—and he almost certainly wrote the foreword to the exhibition’s pro- gram.11 Having little to do with Beethoven himself “as an historic figure or spiritual leader,”12 Stöhr’s description of the Beethoven Frieze’s content from the exhibition program presents a fin-de-siècle interpretation of the composition of the Ninth Symphony and reads as follows: The three painted walls constitute a coherent sequence.	cache/elements-9377.pdf	txt/elements-9377.txt