A case of syphilis in Gustav Klimt’s Medicine? Iconodiagnosis and historical review

IF 1 Q3 Medicine
Ethics, Medicine and Public Health Pub Date : 2026-01-01 Epub Date: 2026-04-15 DOI:10.1016/j.jemep.2026.101290
O. Simonetti , A. Perciaccante , A. Penco , E. Ghirigato , S. Di Bella , V. Zerbato , F. Bellinato , D. Orsini , M. Martini
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引用次数: 0

Abstract

At the beginning of the XX century, syphilis was a major cause of morbidity and mortality, earning the name "The Great Imitator" due to its complex manifestation. The causative agent of syphilis remained unknown until 1905, when Treponema pallidum was identified, followed shortly by the introduction of Salvarsan as the first effective treatment in 1910. The social stigma associated with syphilis compounded its public health challenge, especially in cities like Vienna, where urbanization, poverty, and prostitution fueled its spread. Paleopathological records indicate that congenital syphilis had been present in Vienna since the 18th century, emphasizing its historical persistence. The disease’s impact extended beyond health, permeating culture and art. Renowned painters, including Édouard Manet, Paul Gauguin, Vincent van Gogh, and Francisco Goya, are believed to have suffered from syphilis, while others, like Edvard Munch, drew inspiration from it in their work. Gustav Klimt, a pivotal figure of the Vienna Secession, created Medicine, a painting that reflects themes of life, death, and human vulnerability. Klimt’s depiction of human forms entwined in a cycle of life is characterized by the presence of death as a skeletal figure. Near death stands a woman with three pathognomonic signs of syphilis: saddle nose, Hutchinson's teeth and alopecia syphilitica. The two figures may symbolically represent the societal burden of syphilis. By capturing the fragility of human existence, Klimt’s work may suggest the pervasive influence of the syphilis epidemic on Vienna's cultural and artistic landscape. This interpretation situates Klimt within a broader narrative wherein syphilis shaped artistic expression in an era marked by both scientific discovery and public health challenges. The prevalence of syphilis in early XX-century Vienna may underscore the intersection of disease, art, and culture, making Klimt’s Medicine a testament to this complex scenario.
古斯塔夫·克里姆特的《医学》里的梅毒病例?影像诊断和历史回顾
在二十世纪初,梅毒是发病率和死亡率的主要原因,因其复杂的表现而获得了“伟大的模仿者”的称号。梅毒的病原体直到1905年才为人所知,当时梅毒螺旋体(Treponema pallidum)被发现,随后不久,1910年萨尔伐沙(Salvarsan)被引入,成为第一种有效的治疗方法。与梅毒相关的社会耻辱加剧了其公共卫生挑战,特别是在维也纳这样的城市,城市化、贫困和卖淫加剧了梅毒的传播。古病理学记录表明,先天性梅毒自18世纪以来一直存在于维也纳,强调其历史持久性。这种疾病的影响超出了健康范畴,渗透到文化和艺术领域。著名画家,包括Édouard马奈、保罗·高更、文森特·梵高和弗朗西斯科·戈雅,都被认为患有梅毒,而其他人,如爱德华·蒙克,则从梅毒中汲取灵感。维也纳分离派的核心人物古斯塔夫·克里姆特(Gustav Klimt)创作了反映生命、死亡和人类脆弱性主题的画作《医学》(Medicine)。克里姆特对人类形式的描绘交织在生命的循环中,其特点是死亡作为一个骨骼人物的存在。濒临死亡的女人站着,她有三种梅毒的典型症状:鞍鼻、哈钦森氏牙和梅毒脱发。这两个数字可能象征性地代表了梅毒的社会负担。通过捕捉人类存在的脆弱性,克里姆特的作品可能暗示了梅毒流行对维也纳文化和艺术景观的普遍影响。这种解释将克里姆特置于一个更广泛的叙事中,在这个以科学发现和公共卫生挑战为标志的时代,梅毒塑造了艺术表达。梅毒在二十世纪早期维也纳的流行可能强调了疾病、艺术和文化的交集,使得克里姆特的《医学》证明了这一复杂的场景。
本文章由计算机程序翻译,如有差异,请以英文原文为准。
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来源期刊
Ethics, Medicine and Public Health
Ethics, Medicine and Public Health Medicine-Health Policy
CiteScore
2.20
自引率
0.00%
发文量
107
审稿时长
42 days
期刊介绍: This review aims to compare approaches to medical ethics and bioethics in two forms, Anglo-Saxon (Ethics, Medicine and Public Health) and French (Ethique, Médecine et Politiques Publiques). Thus, in their native languages, the authors will present research on the legitimacy of the practice and appreciation of the consequences of acts towards patients as compared to the limits acceptable by the community, as illustrated by the democratic debate.
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