Klimt and Primal Instinct

by Sarah K Grundy

Gustav Klimt made a mark on creation. Klimt saw a viscous void in a time that condemned him for filling it. Jung saw it too. Both of them are adored in this century for their liberating vision but were abhorred in their own.

In 1907 Klimt spoke of an ideal community—of those who create, those who enjoy and expressed regrets that public life was predominantly preoccupied with economic and political matters. Have we come very far from this 100 years later?

I revel and marvel at the beauty of the Feminine and its intricate, marvelous design. Klimt took solace in this immaculate power. It shows up in every stroke of his pencil and gold foiling. The subtle, soft, robust curves are carved like the waves of the sea with strength and insistence, fight and ferociousness, wonder, and vastness. Creating, shining, battling with consistent forms of darkness hovering overhead trying to pounce, while protecting.

Klimt saw the close-knit kinship between women. The humble, and yet tigress nature. The demure, yet lioness demeanor, and how they all bond together to form a unity, unbreakable by the outside world.

Sexual creatures of the sea, sun, and sand—salting the earth with their tears of joy and compassion. Feeling and metamorphosing the earth's pain into pleasure from the divine. They deliver and carry, transform and transmute.

Art by Gustav Klimt Water Serpents II, also referred to as Wasserschlangen II