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Author: Tobias Günter Natter Publisher: Prestel ISBN: 9783791357089 Category : ART Languages : en Pages : 0
Book Description
Vienna 1902: Gustav Klimt and Auguste Rodin / by Tobias G. Natter -- Kunst-Dinge R. M. Rilke: From Rodin to Klimt and Schiele / by Matthias Haldemann -- The Kiss: Gustav Klimt and Auguste Rodin / by Renée Price -- Rodin's International Celebrity and Influence around 1900 / by Martin Chapman -- Klimt and Rodin: Their Image of Life and Humanity / by Michael Kausch
Author: Tobias Günter Natter Publisher: Prestel ISBN: 9783791357089 Category : ART Languages : en Pages : 0
Book Description
Vienna 1902: Gustav Klimt and Auguste Rodin / by Tobias G. Natter -- Kunst-Dinge R. M. Rilke: From Rodin to Klimt and Schiele / by Matthias Haldemann -- The Kiss: Gustav Klimt and Auguste Rodin / by Renée Price -- Rodin's International Celebrity and Influence around 1900 / by Martin Chapman -- Klimt and Rodin: Their Image of Life and Humanity / by Michael Kausch
Author: Gilles Néret Publisher: ISBN: 9780760723234 Category : Artists Languages : en Pages : 100
Book Description
Gustav Klimt's ornate, sensual, and decadent style made him not only the most prominent of the Vienna Secessionists but one of the best loved artists of all time. In his own time, Kilmt (1862-1918) was a highly successful painter, draftsman, muralist, and graphic artist; in the intervening years, iconic works such as The Kiss have been elevated to nothing less than cult status. Klimt's unfading popularity attests to the appeal of not only his aesthetic sensibilities but also that of the recurrent universal themes in his work: love, feminine beauty, aging, and death. He once wrote, "I am a painter who paints day after day from morning to night...Who ever wants to know something about me...ought to look carefully at my pictures." With this overview of Klimt's work, readers will delight in taking up that challenge.
Author: Patrick Bade Publisher: Parkstone International ISBN: 1781609896 Category : Art Languages : en Pages : 254
Book Description
“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.
Author: Rachel Corbett Publisher: W. W. Norton & Company ISBN: 0393245063 Category : Biography & Autobiography Languages : en Pages : 276
Book Description
Winner of the 2016 Marfield Prize In 1902, Rainer Maria Rilke—then a struggling poet in Germany—went to Paris to research and write a short book about the sculptor Auguste Rodin. The two were almost polar opposites: Rilke in his twenties, delicate and unknown; Rodin in his sixties, carnal and revered. Yet they fell into an instantaneous friendship. Transporting readers to early twentieth-century Paris, Rachel Corbett’s You Must Change Your Life is a vibrant portrait of Rilke and Rodin and their circle, revealing how deeply Rodin’s ideas about art and creativity influenced Rilke’s classic Letters to a Young Poet.
Author: Van Gogh Museum Publisher: ISBN: 9783777435183 Category : Art Languages : en Pages : 0
Book Description
Gustav Klimt (1862-1918) is world famous for his golden, ornamental works, his flowing colours and his sensuous portrayal of women. But where did he find the inspiration for his multi-faceted oeuvre? How well did he know Vincent van Gogh? Did he ever see a picture by Henri Matisse? Large-format comparisons reveal Klimt's artistic sources. Modern European art was omnipresent in Vienna in around 1900 - in the Vienna Secession, in galleries, art magazines and private collections. The Viennese artist Gustav Klimt was receptive for the pictorial language of his contemporaries like Alma-Tadema, Minne, Rodin, Toorop, Hodler, Van Gogh, Monet, Khnopff, Toulouse-Lautrec, Whistler and Matisse, and adapted elements from a variety of artistic styles. The encounter between his works and those of the artists with whom he was associated reveals significant and often surprising parallels.
Author: Jane Rogoyska Publisher: Parkstone International ISBN: 1780422946 Category : Art Languages : en Pages : 160
Book Description
“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.
Author: Tobias Günter Natter
Author: Tobias Günter Natter
Author: Gilles Néret
Author: 
Author: Patrick Bade
Author: Auguste Rodin
Author: Rachel Corbett
Author: Van Gogh Museum
Author: 
Author: Tobias G. Natter
Author: Jane Rogoyska