By Jane Rogoyska, Patrick Bade
The Best of sequence provides, because the identify indicates, positive factors highlights from the paintings of well known artists observed by means of biographical text
Gustav Klimt (1862-1918) used to be some of 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 stream to precise his feedback of conventional paintings, which used to be characterized by means of its competition to alter and the refusal to succumb to a set imaginative and prescient of Modernism. Klimt took suggestion from the gradual yet unstoppable decline of the Austro-Hungarian Empire, and the multitude of cultures from which it was once composed. He used to be an artist of significant eroticism and sensuality, and, including Kokoschka and Schiele, is likely one of the nice masters of Expressionism. This ebook brings jointly Klimt’s most interesting work, in addition to a textual content that demonstrates the intense eclecticism of this nice artist.
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Extra resources for Best of: Gustav Klimt
Qxp 2/7/2011 10:35 AM Page 53 Their bodies are submerged in swathes of textile patterns merging with the background so that the face appears isolated, fragile, alone. The Portrait of Margaret Stonborough-Wittgenstein (p. 125) is notable as one of the few which is not dominated by pattern, and is a clear tribute to the work of Whistler, whom Klimt greatly admired. There is also something particularly striking in the gaze and stance of the young Maria Primavesi: she stands, hand on hip, legs apart, the age-old combination of innocence and provocation.
I’m not much good at speaking and writing, especially when I have to discuss myself or my work. Just the idea of having to write a simple letter fills me with anguish. I am very much afraid that you will have to do without a portrait of me, either painted or in words, but that is no great loss. ” Just how exceptional Gustav Klimt was is perhaps reflected in the fact that he had no predecessors and no real followers. He admired Rodin and Whistler without slavishly copying them, and was admired in turn by the younger Viennese painters Egon Schiele and Oskar Kokoschka, both of whom were greatly influenced by Klimt.
There is also something particularly striking in the gaze and stance of the young Maria Primavesi: she stands, hand on hip, legs apart, the age-old combination of innocence and provocation. These are remarkably delicate portraits. Each face betrays so much about the sitter – a calmness, or an awkwardness, and in Adele Bloch-Bauer’s (p. 137, 161), the only one of these women known also to have been Klimt’s lover, it is difficult not to read into her face a desire to pose as luxuriously as Klimt’s models did, especially in the 1912 portrait, where her open lips, her gaze, and her direct stance suggest a certain sexual readiness in stark contrast to the upright behaviour which would undoubtedly have been expected of her.