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UID:event_1291@www.bgc.bard.edu
DTSTAMP:20260807T112516Z
DESCRIPTION:Debora Silverman will be speaking at the Françoise and Georges 
 Selz Lectures on Eighteenth- and Nineteenth-Century French Decorative Arts
  and Culture on Wednesday\, December 1\, at 12:15 pm. Her talk is entitled
  “Gold Rush\, Congo Style: Gustav Klimt’s Marble Mosaic Frieze in the Brus
 sels Palais Stoclet\, 1905-1911.”Gustav Klimt achieved what he considered 
 the highpoint of his experiments with ornament not in Vienna\, but in Brus
 sels\, where he designed\, with unlimited budget\, a large-scale frieze of
  gold and bejeweled mosaics to wrap the dining room walls for the Palais S
 toclet (1905-1911). This remarkable work revitalized Klimt’s career and ch
 anged his style. The Stoclet project also concentrates myriad and unrecogn
 ized connections to Africa. Klimt became enmeshed in a web of links that t
 ied his patron and circles of Brussels elites to the Congo and to Egypt. T
 hese shape not only the circumstances of his commission but the stylistic 
 forms\, raw materials\, and figural compositions that he devised for it. V
 ienna\, golden style\, is reborn in the gold rush of the Belgian empire. B
 y restoring imperialism to the center of the story\, this talk identifies 
 two coordinates for our analytic field. First\, the stylistic development 
 of Klimt’s “golden style\,” offering new evidence for his reliance on Egyp
 tian tomb art for his Brussels project. Here Silverman suggests a link bet
 ween ancient Egyptian archaeology and Belgian occupation of the Congo as c
 onduits of modernist primitivism. Second\, the Stoclet house as an imperia
 l Gesamtkunstwerk\, embodying not only a resplendent unity of all the arts
  but a voracious entitlement to global bounty\, exemplified in Klimt’s pat
 ron\, the banker-engineer Adolphe Stoclet. By close focus on this work of 
 Gustav Klimt and his patron\, a missing chapter of what Silverman calls “i
 mperial modernism” comes into view. This history makes visible what has be
 en invisible: the facts\, artifacts\, sources\, resources—both financial a
 nd cultural—and raw materials that are inextricably linked to European exp
 ansionism in Africa. Debora Silverman is Distinguished Professor of Histor
 y and Art History at UCLA\, where she holds the University of California P
 residential Chair in Modern European History\, Art and Culture. She receiv
 ed her BA\, MA\, and PhD from Princeton University. She teaches and has wr
 itten widely on the visual arts\, politics\, and the emergence of the irra
 tional in fin-de-siècle Europe\, as well as critical studies of art\, memo
 ry\, colonialism\, decolonizing the museum\, and legacies of violence in t
 he contemporary world. This event will be held via Zoom. A link will be ci
 rculated to registrants by 10 am on the day of the event. This event will 
 be live with automatic captions.
DTSTART;TZID=America/New_York:20211201T121500
DTEND;TZID=America/New_York:20211201T131500
SUMMARY:Bard Graduate Center: Gold Rush\, Congo Style: Gustav Klimt’s Marbl
 e Mosaic Frieze in the Brussels Palais Stoclet\, 1905-1911
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