Jane Rogoyska, Patrick Bade's Best of: Gustav Klimt PDF
By Jane Rogoyska, Patrick Bade
The Best of sequence provides, because the identify indicates, gains highlights from the paintings of popular artists followed by means of biographical text
Gustav Klimt (1862-1918) used to be probably the most influential artists on the finish of the nineteenth century, and used to be the founding father of the Viennese Secession flow. He used the stream to precise his feedback of conventional artwork, which was once characterized by means of its competition to alter and the refusal to succumb to a hard and fast 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 was once composed. He was once an artist of significant eroticism and sensuality, and, including Kokoschka and Schiele, is among the nice masters of Expressionism. This publication brings jointly Klimt’s best work, besides a textual content that demonstrates the extreme 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.
Burnt in 1945 at Immendorf Castle. 30 It must be remembered that despite their tastes for balls, the opera, theatre and music, the Viennese upper classes were extremely conservative in their tastes. A combination of strict Roman Catholicism and rigid social morals kept them buttoned up, at least on the surface. And whilst people were only too happy to indulge in all sorts of sensual pleasures that were sanctioned by society – the waltz, for example – they did not appreciate having openly erotic, ugly or sexual subjects thrust before them, a double standard which speaks volumes about fin de siècle morality.
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. This was a period of great musicians – Brahms, Bruckner, Strauss the younger, Schönberg, Mahler and, of course, Franz Lehár, creator of the light operettas so beloved of the Viennese.