By Jane Rogoyska, Patrick Bade
The Best of sequence provides, because the identify indicates, positive factors highlights from the paintings of popular artists observed through biographical text
Gustav Klimt (1862-1918) used to be probably the most influential artists on the finish of the nineteenth century, and was once the founding father of the Viennese Secession move. He used the flow to precise his feedback of conventional artwork, which used to be characterized via its competition to alter and the refusal to succumb to a set imaginative and prescient of Modernism. Klimt took thought from the sluggish 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 serious eroticism and sensuality, and, including Kokoschka and Schiele, is without doubt one of the nice masters of Expressionism. This publication 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 info for Best of: Gustav Klimt
But whereas Klimt belongs to that transitional period at end of the nineteenth century, Schiele and Kokoschka represent the beginnings of that quintessentially early twentieth-century movement, expressionism. Schiele, like Klimt, produced many drawings of nudes, but where Klimt’s drawings were peaceful, dreamy and delicate, Schiele reflected a tortured and neurotic psyche. He drew himself endlessly – an emaciated, troubled figure – and his drawings of female nudes manage to render the women simultaneously sexually attractive and repulsive.
Only three of the books survived. The drawings which have survived, however, provide a fascinating insight into Klimt’s artistic and personal preoccupations: whereas in his paintings nudity and sexuality are covered, almost imprisoned by ornament and textile to be partially and tantalisingly revealed, in his drawings eroticism is open and undisguised. Even during his lifetime, his drawings were regarded by some critics as the best work of his entire life’s work, but they would not have been widely seen.
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. But whereas Klimt belongs to that transitional period at end of the nineteenth century, Schiele and Kokoschka represent the beginnings of that quintessentially early twentieth-century movement, expressionism.