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"Hygieia," created in 1907 by the celebrated Austrian symbolist painter Gustav Klimt, is a segment from his larger work, the "Medicine" panel, one of the three university paintings commissioned for the ceiling of the Great Hall at the University of Vienna. As a vision of divine femininity and healing, the painting captures Klimt's opulent and richly detailed style.

The central figure in "Hygieia" is the eponymous Greek goddess of health, hygiene, and sanitation, daughter of Asclepius, the god of medicine. She commands the viewer’s attention with her serene yet authoritative presence. Hygieia is depicted as standing tall and proud, with an almost regal bearing. Her dark, flowing hair is adorned with a golden headdress, which glistens, adding a divine radiance to her figure.

She wears an elaborately decorated robe, gold and deep red in color, which cascades down her form in luxurious folds. The robe is adorned with intricate patterns and motifs that reflect Klimt's fascination with the decorative arts, particularly influences from Byzantine mosaics and Japanese prints. Emerging from this rich garment, Hygieia holds a large, golden bowl—known as a patera—in her left hand from which a snake drinks, an emblematic representation of rejuvenation and the eternal cycle of life and health. The snake, coiling upwards, adds a dynamic element that contrasts with the otherwise static and composed figure of the goddess.

The background of the painting is filled with Klimt's signature use of abstract, decorative elements. The golden hues and geometric shapes create an almost celestial ambiance, reinforcing Hygieia's divine nature. The intricate patterns and use of gold leaf reflect the artist’s masterful technique and contribute to the painting's lavish and otherworldly quality.

Gustav Klimt (1862-1918) was a key figure in the Vienna Secession movement, which sought to break away from traditional academic art and embrace a more modern, symbolist approach. His work is characterized by an eroticism, often controversial, combined with a highly decorous and symbolic aesthetic.

"Hygieia" represents a quintessential example of Klimt’s mature style, reflecting his use of symbolism and his fascination with the female form, often portrayed as a central figure in his works. The painting also highlights his adeptness at blending fine art with decorative elements, influenced by his background as a muralist and his exposure to various artistic traditions.

The larger "Medicine" panel, of which "Hygieia" is a part, was one of the three commissioned by the University of Vienna, which Klimt completed between 1900 and 1907. The other two panels were "Philosophy" and "Jurisprudence." The commission was highly controversial, as Klimt's interpretation of Medicine—with its unflinching look at human suffering and mortality juxtaposed against the goddess Hygieia—was met with public and academic outcry for its radical departure from conventional representations.

The "Medicine" panel, along with "Philosophy" and "Jurisprudence," was destroyed in a fire set by retreating German forces in 1945 at Schloss Immendorf in Austria during World War II. However, "Hygieia" and other parts of these panels survive through preparatory sketches, photographs, and smaller reproductions, ensuring their place in art history.

Klimt's "Hygieia" remains a testament to the artist's pioneering vision and his ability to blend beauty with complex, often unsettling themes. As a fragment of what was once a revolutionary and provocative series, "Hygieia" embodies the tensions and transitions of early 20th-century art, as well as Klimt's distinctive, influential aesthetic.