By Jane Rogoyska, Patrick Bade
The Best of sequence provides, because the identify indicates, positive aspects highlights from the paintings of well known artists followed via biographical text
Gustav Klimt (1862-1918) was once essentially the most influential artists on the finish of the nineteenth century, and used to be the founding father of the Viennese Secession stream. He used the move to specific his feedback of conventional artwork, which used to be characterized via its competition to alter and the refusal to succumb to a hard and fast imaginative and prescient of Modernism. Klimt took proposal from the gradual yet unstoppable decline of the Austro-Hungarian Empire, and the multitude of cultures from which it used to be composed. He was once an artist of significant eroticism and sensuality, and, including Kokoschka and Schiele, is likely one of the nice masters of Expressionism. This publication brings jointly Klimt’s best work, besides a textual content that demonstrates the intense eclecticism of this nice artist.
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Additional resources for Best of: Gustav Klimt
Example text
He was certainly known to be very generous towards them. Who knows whether the pregnancies depicted in his paintings had any connection with the painter himself? If they did, Herma’s gaze in Hope I takes on an entirely new meaning: a look of reproach? Or one of irony? Drawings and Sketches Young Girl with a Blue Veil, 1902-1903. Oil on canvas, 67 x 55 cm. Private collection. 40 In his studio, Klimt kept girls available to him at all times, waiting for him in a room next door in case he decided to paint them.
Pattern and Nudity In Klimt’s paintings from the last ten years of his life, pattern, textile and ornament are used to highly erotic effect, emphasizing the nakedness of the body rather than covering it up. It is as if the women he depicts are imprisoned by the textiles and ornaments, an impression heightened by the artist’s heavy use of gold (Klimt had visited Ravenna in 1903, where he had greatly admired the famous Byzantine mosaics). In Judith II (p. 150) the clothes seem barely able to contain the energetic nudity of the avenging woman, and in The Bride (p.
From around 1897 onwards, he spent almost every summer on the Attersee with the Flöge family, periods of peace and tranquillity, which produced the landscape paintings constituting almost a quarter of his entire œuvre. The exact nature of Klimt’s relationship with Emilie Flöge remains unknown. They never lived together, and although it was Emilie whom Klimt requested on his death bed, there has always been a great deal of speculation as to whether they were actually lovers. Klimt corresponded extensively both with Emilie and with Marie (Mizzi) Zimmerman, who was the mother of two of his three illegitimate children.