Best of: Gustav Klimt by Jane Rogoyska, Patrick Bade

By Jane Rogoyska, Patrick Bade

The Best of sequence offers, because the identify indicates, positive factors highlights from the paintings of well known artists followed through 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 move. He used the circulation to specific his feedback of conventional artwork, which was once characterized via its competition to alter and the refusal to succumb to a set imaginative and prescient of Modernism. Klimt took notion from the sluggish yet unstoppable decline of the Austro-Hungarian Empire, and the multitude of cultures from which it was once composed. He was once an artist of serious eroticism and sensuality, and, including Kokoschka and Schiele, is among the nice masters of Expressionism. This publication brings jointly Klimt’s most interesting work, in addition to a textual content that demonstrates the extreme eclecticism of this nice artist.

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Additional resources for Best of: Gustav Klimt

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Klimt made sketches for virtually everything he did. Sometimes there were over a hundred drawings for one painting, each showing a different detail – a piece of clothing or jewellery, or a simple gesture. They would lie about his studio in heaps, where his adored cats, it is said, had a habit of destroying them. qxp Orchard, 1905-1906. 4 cm. The Carnegie Museum of Art, Pittsburgh. qxp 2/7/2011 10:00 AM Page 43 Garden Landscape, 1906. Oil on canvas, 110 x 110 cm. Private collection. qxp 2/7/2011 10:00 AM Page 45 Unfortunately, however, the bulk of his sketchbooks were destroyed not by cats but by a fire in Emilie Flöge’s apartment.

The period of decline had begun even before Klimt was born. Military defeats across the Empire sounded warning bells for future stability, whilst Vienna was filling up with Czechs, gypsies, Hungarians, Poles, Jews, and Romanians – immigrants from the poorest parts of the Empire, all in search of work, often living in appalling conditions. The wealthy Viennese, however, chose not to acknowledge these signals of future trouble but rather to ignore the outside world and immerse themselves in a whirl of pleasurable activities.

The story goes that one day Herma, whom Klimt apparently described as having a backside more beautiful and more intelligent than the faces of many other models, failed to turn up for work. Klimt, who took very good care of his models, began to worry and finally sent someone to find out if she was ill. Upon hearing that she was not ill but pregnant, Klimt insisted that she came to work anyway. She then became the model for Hope I. This fragile, slender woman looking calmly out at the viewer is anything but maternal.

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