第三章 世紀初的華麗褻瀆與畸形肉身
第一節 華麗的世紀初歡場祭典－克林姆
觀者的慾望【圖12-17】。弗里德．弗里德爾（Gottfried Fliedl）認為：「克林 姆特的女人多半是裸露的、肉慾的，她們緊閉或者半張著眼睛，她們為觀者 par Sergio Coradeschi（Paris : Flammarion, 1983）, 14
“ Klimt travaillait à traduire l’érotisme manifeste de sa vision du monde en un symbolisme sexuel latent.”
61 Gottfried Fliedl, trans. by Hugh Beyer, Gustav Klimt（Köln：Taschen, 1997）, 199.
“ The eyes of these women are mostly cast down or closed. Their sexuality is meant to be looked at.”
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圖從後方滑入她體內。他的《水蛇II》（Les serpents d’eau II）【圖 20 右】當 然不是半人半蛇的美女或任何其他傳說及神話裡的女妖，而是在表達大部分62 Gottfried Fliedl, trans. by Hugh Beyer, Gustav Klimt（Köln：Taschen, 1997）, 191.
“ Many of these erotic drawings are quite bluntly aimed at a male viewer. Klimt often arranged models in postures where they were exposing or offering themselves. For some nudes he chose an extremely closed-up view together with an equally extreme perspective so that certain parts of the body were particularly stressed or the women appeared fragmented－an artistic device to emphasize and enhance the erotic and sexual element of the moment captured in the drawing.”
63 Gottfried Fliedl, trans. by Hugh Beyer, Gustav Klimt（Köln：Taschen, 1997）, 196-197.
“ … For Klimt, models were not real people but merely physical shapes that could be utilized artistically.”
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65 Charles Baudelaire, Œuvres complètes I（Paris：Gallimard,1976）, 31-32.
Rappelez-vous l'objet que nous vîmes, mon âme, Ce beau matin d'été si doux:
Au détour d'un sentier une charogne infâme Sur un lit semé de cailloux,
Les jambes en l'air, comme une femme lubrique, Brûlante et suant les poisons,
Ouvrait d'une façon nonchalante et cynique Son ventre plein d'exhalaisons.
66 錄於克林姆致艾德伯格書信（Letter to Rudolf Eitelberger）轉錄自 Gottfried Fliedl, trans. by Hugh Beyer, Gustav Klimt（Köln：Taschen, 1997）, 197.
“ His words that a model’s posterior is often more beautiful and intelligent than her face.”
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不給他所愛的女人諾言。68藝術家漢斯．泰特茲（Hans Tietze，1880~1954）在1919 年出版了一篇文章，她描述這位藝術家的個性深受矛盾之苦，泰特 茲認為克林姆非常需要愛情，女性身軀的魅惑魔力讓他難以自制，但是他拒 絕這種滿足：「……那種性愛神經衰弱症的顫抖充滿了最痛苦的經驗。克林 姆不敢負起歡樂後的責任。」69
在《古斯塔夫．克林姆與艾蜜莉．佛洛吉》(Gustav Klimt Und Emilie Flöge) 一書中，費雪（Wolfgang Georg Fischer，1933~）講述克林姆與女人間的關 係，他把克林姆看作當時維也納中產階級男性的典型範例，他們同時有著幾 種不同的謹慎生活。即使表面上看來是值得敬重和信賴。克林姆其實還過著 一種隱祕的生活。當他和艾蜜莉（Emilie Flöge，1874~1952）70與她的家人
67 Frank Whitford, Klimt（London: Thames and Hudson, 1990）, 166.
“ Klimt also slept with several of his models and seems to have had a powerful sexual appetite.
A caricature of himself provides amusing evidence of this. The drawing shows his face as a bull’s head on a body which at first sight looks like that of a bird, but on closer inspection reveals itself to be a woman’s bottom or pair of testicle.”
68 克林姆對女性的態度，一直都是對他有興趣的藝術愛好者議論的主題，「對像他這樣的
男人，首要特徵便是女人多如過江之鯽，絕不會少，從1896 年的奈普司（Sonje Knips）
及1899 年的雷得勒（Serena Lederer）到 1918 年未完成的美女畫像，這個畫像陳列室就 像是一本『名冊』……也許是他必須保持自由之身以便去取悅所有的女性，所以一輩子 都沒迎娶愛蜜莉。」參閱： Gustav Klimt , Tout l'œuvre peint de Klimt , introduction par René Passeron , documentation par Sergio Coradeschi（Paris : Flammarion, 1983）, 6.
“ Pour un homme comme lui, la femme est d’abord plurielle. De Sonje Knips（1896）et de Serena Lederer（1899）à la belle inachevée de 1918（Portrait de femme）, il semble que cette galerie de portraits soit un ‘catalogue’…et que ce soit pour rester libre de les courtiser toutes que n’a jamais épousé Emilie.”
69 Frank Whitford, Klimt（London: Thames and Hudson, 1990）, 172.
“ …One suspects that which trembles with erotic neurasthenia in his most sensitive drawing is filled with the most painful experience. Klimt did not dare assume the responsibility of happiness…”
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房間裏的咪姿（Mizzi Zimmermann，1879 ~ 1975）71和他們的孩子的絕望索 錢信件，72 足以證明克林姆人格的缺陷，無法承擔完整的家庭人倫。 在畫面中創造了無數替代他的眼睛，《流動之水》（Eaux mouvantes）的章魚 眼睛監視著畫裡與畫外的人【圖24】，《水蛇 I》（Les serpents d’eau I）右方 的魚眼透露似笑非笑的怪異曲線【圖20 左】；《茱荻斯》（Judith）右下角的Scott Messing, Schubert in the European Imagination（New York：Boydell & Brewer Inc , 2007）, 83.
“ Klimt scholars agree that the sitter for the woman on the left was the model Mizzi Zimmermann, who had two children by the artist. Their affair seems to have begun around 1899, the year in which her first son is said to have been born. Although exact dating is not possible, it appears that Mizzi Zimmermann had a maternal status in Klimt’s private life that dovetails with contemporary views that the left-hand figure was indeed an older woman.”
72 Frank Whitford, Klimt（London: Thames and Hudson, 1990）, 172.
“ In his book Gustav Klimt Und Emilie Flöge Wolfgang Georg Fischer devotes an entertaining and revealing chapter to Klimt’s relationship with women. He sees Klimt as an entirely typical example of the Viennese middle-class male of the period who led several concurrent and discreetly separate lives. By all appearances respectable and reliable, Klimt led a secret life－
although it was not always as secret as he would have wished. While he was on holiday in the country with Emilie Flöge and her family, he was not always able to hide the letters which regularly arrived with their children in a room in one of the most miserable districts of Vienna. Klimt was far less disturbed by Mizzi’s descriptions of her predicament than embarrassed by the delivery of her letters.”
73 Gottfried Fliedl, trans. by Hugh Beyer, Gustav Klimt（Köln：Taschen, 1997）, 195.
“ …his interest focused on the erotically stimulating body and the way it excited him, not the female body in original.”
74 Gustav Klimt, Tout l'œuvre peint de Klimt , introduction par René Passeron , documentation par Sergio Coradeschi（Paris : Flammarion, 1983）, 6.
“ … d’inciter le monde à partager, par la contagion d’une curiosité scabreuse, leurs plaisirs de voyeurs.”
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法國畫家羅特列克（Henri Raymond de Toulouse-Lautrec，1864~1901）
出生在一個貴族家庭中，就像其他脈脈相傳的貴族一般，他們幾乎是完全近 親聯姻。77先天發育有缺陷給他的一生蒙上了抹不去的陰影。庫柏（Douglas Cooper，1911~1984）有一段關於羅克列特的記敘：「……他不能再參與他 的父親及其他親人的生活，因此，他不能繼續做他們的同伴，阿方斯（Count Alphonse，1838~1913）不再對他兒子的作為感到興趣。」78 羅特列克注定 與貴族之途無緣，不能像父親一樣展示騎馬獵鷹的雄姿，身體狀況斷絕了他
75 Gustav Klimt, Tout l'œuvre peint de Klimt , introduction par René Passeron, documentation par Sergio Coradeschi（Paris : Flammarion, 1983）, 7.
“ La peinture donne à Klimt les moyens d’une méditation critique sur le destin de voyeur. Tout voyeur artiste se fait voyeur du voyeur, et échappe à ce destin.”
76 克林姆在他頹廢派的作品中常看到貴氣逼人的金箔【如圖 26】，許多人聯想這也許跟他
參閱：Bernard Denvir, Toulouse-Lautrec（London: Thames and Hudson, 1991）, 9.
“ The two accidents that happened to him when he was in his early teens had little or nothing to do with his basic deformity although they were seized on as a socially acceptable explanation of his condition by his parents, anxious to deny any hint of congenital disease in a family of such genealogical distinction, and all the more vehemently, no doubt, because of deeper, less conscious feelings of guilt.”
78 Douglas Cooper, Henri de Toulouse-Lautrec（New York：Harry N.Abrams, 1982）, 11.
“…he could no longer take part in the life of his father and his other relatives. And so, when he ceased to be a companion, Count Alphonse lost interest in his son’s doings.”