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Klimt, by Patrick Bade
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“I am not interested in myself as a subject for painting, but in others, particularly women…”Beautiful, sensuous and above all erotic, Gustav Klimt’s paintings speak of a world of opulence and leisure, which seems aeons away from the harsh, post-modern environment we live in now. The subjects he treats – allegories, portraits, landscapes and erotic figures – contain virtually no reference to external events, but strive rather to create a world where beauty, above everything else, is dominant. His use of colour and pattern was profoundly influenced by the art of Japan, ancient Egypt, and Byzantium. Ravenne, the flat, two-dimensional perspective of his paintings, and the frequently stylised quality of his images form an oeuvre imbued with a profound sensuality and one where the figure of woman, above all, reigns supreme. Klimt’s very first works brought him success at an unusually young age. Gustav, born in 1862, obtained a state grant to study at Kunstgewerbeschule (the Vienna School of Arts and Crafts) at the age of fourteen. His talents as a draughtsman and painter were quickly noticed, and in 1879 he formed the Künstlercompagnie (Artists’ Company) with his brother Ernst and another student, Franz Matsch. The latter part of the nineteenth century was a period of great architectural activity in Vienna. In 1857, the Emperor Franz Joseph had ordered the destruction of the fortifications that had surrounded the medieval city centre. The Ringstrasse was the result, a budding new district with magnificent buildings and beautiful parks, all paid for by public expenses. Therefore the young Klimt and his partners had ample opportunities to show off their talents, and they received early commissions to contribute to the decorations for the pageant organised to celebrate the silver wedding anniversary of the Emperor Franz Joseph and the Empress Elisabeth. In 1894, Matsch moved out of their communal studio, and in 1897 Klimt, together with his closest friends, resigned from the Künstlerhausgenossenschaft (the Cooperative Society of Austrian Artists) to form a new movement known as the Secession, of which he was immediately elected president. The Secession was a great success, holding both a first and second exhibition in 1898. The movement made enough money to commission its very own building, designed for it by the architect Joseph Maria Olbrich. Above the entrance was its motto: “To each age its art, to art its freedom.” From around 1897 onward, Klimt spent almost every summer on the Attersee with the Flöge family. These were periods of peace and tranquillity in which he produced the landscape paintings constituting almost a quarter of his entire oeuvre. 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. 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.
- Sales Rank: #1460702 in eBooks
- Published on: 2011-12-22
- Released on: 2011-12-22
- Format: Kindle eBook
From the Inside Flap
Another title from The Crown Art Library, the most useful monographs available on a wide range of significant artists. Each volume is written by an internationally recognized authority and is generously illustrated with full-color reproductions of the artist's paintings and two-color reproductions of sketches and line drawings.
From the Trade Paperback edition.
Most helpful customer reviews
81 of 81 people found the following review helpful.
Revealing, Educational and Loads of Photos
By Reviewer
First of all, the book is not covered as shown in the amazon photo which shows the famous "kiss" painting. The book, apparently updated in 2006, shows a cover photo of Klimt's famous Danae (1907-8) oil on canvas painting. I think this cover is more provacative and more organic and softer than the famed Kiss painting which reveals a couple entwined in gold looking rather stiff. Danae was certainly a better choice for the cover. The book is definitely not written for the casual art reader. It is written with extreme depth as what I'd expect from a historian of the arts on a university research level. As verbose as it is, it has plenty, if not hundreds of photos of the famous works, including all of Klimt's paintings and lesser known sketches. The author discusses several of Klimt's famous paintings in depth and reviews various critics of Klimt's time period as well as Klimt's personal opinions and struggles. Culture, politics, and various movements in the arts is also discussed at length. This book is too deep for the casual browser or reader but makes a great coffee table book if only for the pictures alone. It is a high quality book and the pages are high quality (acid free) and glossy. The painting photos are rich and fully colored, better than other books I've bought on Klimt (where the precious gold paint is reduced to lousy brownish or greenish prints). The gold tones in this book, so famous in Klimt's work, are reproduced extremely well as well as the other vivid colors so characteristic of Klimt's work. It's a bargain to get this book at the price.
35 of 35 people found the following review helpful.
great format, poor reproductions
By A Customer
The format of this book is wonderful -- the pages unfold to become full 20x22" images. This is a perfect size for a poster or teaching aid -- IF the image quality weren't so poor! I wanted to like this book, really... but I've seen Klimt's work in person as well as in many other books, and the reproductions here are just so dull and grainy. Rich violets appear brown; the firey red hair in several pieces looks very subdued. "The Kiss", shown on the front cover, shows the couple with skin that is positively green. And the golds that Klimt is famous for, while I appreciate that they must be difficult to photograph, just do not come across.
I would have gladly paid more for this book if the publishers could have reproduced it better. It is obvious they intended this to be a picture book -- there are literally only two pages of writing -- so it would make sense to give the best reproductions possible! Even using a glossy paper instead of the dull matte finish would have given a better presentation.
If you are interested in truly appreciating Klimt and his work, I would recommend Taschen's posterbook for large, good quality reproductions. I also would recommend "Silver, Gold, and Precious Stones" from the Adventures in Art Series. This is geared toward a younger audience, but it beautifully laid out and presented, and actually uses a gold finish on the areas with gold leaf (nice touch!).
14 of 15 people found the following review helpful.
luxuriously recreated prints from one of the masters!
By Jack Kirven
klimt's work is endlessly fascinating... its eroticism, its mythological references, its composition. klimt captures the power and symbolism of color and shape in a way that is unique amongst artists in the canon. his images are not merely pictures of women (and a few men), but stories with complicated layers of meaning. all this delicate beauty could be easily lost in printing, but this book has somehow managed to preserve it, and it is amazing! the text gives biographical and historical context, which is always helpful, and even ventures into analysis -- i enjoy knowing other people's perspectives, because it helps me to read deeper into what i'm seeing. all the master works are here, as well as many treasures that are often overlooked. if you are interested in art nouveau, art history, symbolism in art, and/or art history you really should own this book. believe me, it is well worth the price -- i wasn't expecting much for (the price), and would have willingly paid much more. i wish i had it in hardback though...
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