(Vienna 1862–1918)
Geneigter Männerkopf nach rechts, mit geschlossenen Augen / Male head turned to the right with closed eyes, 1916/17, inverse study for Adam in the painting “Adam und Eva” (incomplete - Novotny/Dobai no. 220 / Weidinger no. 251 / Natter no. 243), pencil on paper, 56 x 37.3 cm, slightly browned, light stained, framed

Registered and illustrated:
Alice Strobl, Gustav Klimt. Die Zeichnungen, Nachtrag 1878–1918, vol. IV, Verlag der Galerie Welz, Salzburg 1989, pp. 204–205 (ill.)

The Belvedere, Vienna, is in possession of the oil painting.

Provenance:
Private Collection, USA
Galerie Suppan, Vienna
Private Collection, Vienna

We are grateful to Marian Bisanz-Prakken.

The frontal, sideways leaning face with closed eyes is a frequent motif in Klimt’s modern allegorical paintings and in numerous drawings. This symbolist formula is predominantly to be found in his female .figures – in Klimt’s work the small number of male nudes are mostly seen from behind – especially when emotions such as sorrow, melancholy, mysterious seclusion or sensual rapture were in the focus of his attention.

The present drawing belongs to the very rare category in Klimt’s oeuvre of male heads depicted from the front and leaning sideways. It concerns the group of studies made in connection with the .figure of Adam in the painting “Adam and Eve” (1916–1918, unfished). This late major work shows the .first human couple standing frontally, with the muscular but completely passive Adam largely hidden behind the voluptuous, naked figure of Eve. His sleeping face, tilted to the left, forms a striking contrast to the brightly shining eyes of his partner. It has been conjectured more than once that, in this painting, Klimt may have been referring to the birth of Eve described in the Bible: before the Lord created the .first woman from Adam’s rib, he put him into a deep sleep.

In any case it can be stated, that this condition of deep or semi-sleep occupied Klimt intensively in his studies of male heads. Thus, in the present drawing, he concentrates entirely on Adam’s inner retreat, at a crucial moment for creation. The erratic, repetitive strokes, reminiscent of Expressionism, are characteristic of the artist’s late period. At the same time, Klimt succeeds in capturing the expression of the subject with great accuracy. Moreover, this impressive study, which rather shows the character of a standalone work, is marked by great seriousness.

Marian Bisanz-Prakken