Gustav Klimt
By Jane Rogoyska and Patrick Bade
4.5/5
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About this ebook
Jane Rogoyska
Jane Rogoyska is the acclaimed author of Gerda Taro: Inventing Robert Capa. She has a particular interest in the turbulent period from the 1930s to the Cold War in Europe. Her research into the Katyn Massacre led to her first novel, Kozlowski (long-listed for the Desmond Elliott Prize) and Still Here: A Polish Odyssey which she wrote and presented for BBC Radio 4.
Read more from Jane Rogoyska
Surviving Katyn: Stalin's Polish Massacre and the Search for Truth Rating: 4 out of 5 stars4/5Klimt Rating: 5 out of 5 stars5/5Amedeo Modigliani Rating: 4 out of 5 stars4/5
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8 ratings1 review
- Rating: 4 out of 5 stars4/5A good quick review of the artist and many examples of his work.
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Gustav Klimt - Jane Rogoyska
Author: Jane Rogoyska and Patrick Bade
Library of Congress Cataloging-in-Publication Data
Rogoyska, Jane.
Gustav Klimt / Jane Rogoyska and Patrick Bade. -- 2nd ed.
p. cm.
Includes index.
1. Klimt, Gustav, 1862-1918. 2. Artists--Austria--Biography. I. Klimt, Gustav, 1862-1918. II. Bade, Patrick. III. Title.
N6811.5.K55R64 2011b
709.2--dc23
[B]
2011024520
© 2023 Confidential Concepts, worldwide, USA
© 2023 Parkstone Press International, New York, USA
All rights reserved.
No part of this publication may be reproduced or adapted without the permission of the copyright holder, throughout the world. Unless otherwise specified copyrights on the works reproduced lie with the respective photographers, artists, heirs or estates. Despite intensive research, it has not always been possible to establish copyright ownership. Where this is the case, we would appreciate notification.
ISBN: 978-1-78310-183-2
Jane Rogoyska and Patrick Bade
Gustav Klimt
Contents
The Viennese Secession
His Life
Beginnings
Secession
Scandal
Fin de Siècle Vienna
Lovers and Friends
Drawings and Sketches
Society Portraits
Pattern and Nudity
Klimt’s Legacy
His Work
FABLE
THE IDYLL
THE THEATRE OF TAORMINA
FEMALE NUDE LYING DOWN
AUDITORIUM OF THE OLD BURGTHEATER
PORTRAIT OF JOSEPH PEMBAUR
ANCIENT GREEK ART I
THE LOVE
MUSIC I
FINAL DRAWING FOR THE ALLEGORY OF TRAGEDY
FISH BLOOD
COMPOSITIONAL PROJECT FOR MEDICINE
PALLAS ATHENA
POTRAIT OF SONJA KNIPS
EXHIBITION WALLPAPER FOR SECESSION I
NUDA VERITAS
NUDA VERITAS (DETAIL)
SCHUBERT AT PIANO
TWO LOVERS
ISLAND ON THE ATTERSEE
GOLDFISH
JUDITH I
PORTRAIT OF GERTHA FELSOVANYI
THE BEETHOVEN FRIEZE: AMBITION, COMPASSION AND THE KNIGHT IN SHINING ARMOR (DETAIL)
POTRAIT OF EMILIE FLÖGE
FOREST OF BEECH TREES I
HOPE I
WATER SNAKE I
WATER SNAKE II
THE THREE AGES OF WOMEN
POTRAIT OF MARGARET STONBOROUGH-WITTGENSTEIN
THE STOCLET FRIEZE (DETAIL)
SUNFLOWER GARDEN
POTRAIT OF FRETZA RIEDLER
MEDICINE
HYGIEIA (DETAIL OF MEDICINE)
POTRAIT OF ADELE BLOCH-BAUER I
HOPE II
THE KISS
THE KISS (DETAIL)
DANAË
KAMMER CASTLE ON THE ATTERSEE I
WOMAN IN HAT WITH FEATHER BOA
JUDITH II
THE BLACK FEATHER HAT
LIFE AND DEATH
GARDEN WITH CRUCIFIX
FARMHOUSE IN UPPER AUSTRIA
POTRAIT OF ADELE BLOCH-BAUER II
RIA MUNK ON HER DEATH BED
PORTRAIT OF MÄDA PRIMAVESI
POTRAIT OF EUGENIA PRIMAVESI
VIRGIN
MALCESINE ON LAKE GARDA
POTRAIT OF ELISABETH BACHFEN-ECHT
HOUSE AT UNTERACH ON THE ATTERSEE
POTRAIT OF FRIEDERIKE MARIA BEER
PATH OF GARDEN AND HENS
THE CHURCH AT UNTERACH ON THE ATTERSEE
GIRLFRIENDS (DETAIL)
BABY
ADAM AND EVE (UNFINISHED)
DANCER
BRIDE (UNFINISHED)
Biography
Index
Notes
Gnawing Sorrow
(detail from second panel of
The Beethoven Frieze), 1902.
Casin on plaster, height: 220 cm. Secession, Vienna.
The Viennese Secession
Eight Years of Secession (March 1897 – June 1905)[1]
Criticism – Polemic Pamphlet – Chronicle
by Ludwig Hevesi, Vienna 1906
The city council has, in recent days, in a moment of epiphany, made the decision to grant the Vereinigung bildender Künstler Österreichs (Association of Visual Artists in Austria) a piece of property for the construction of an art exhibition center on the corner of the Wollzeile in Vienna[2]. The conditions, however, for this grant still need mitigation. This is what the Viennese would call a Wiener Lokalnachricht
(a local headline) but compared to all the other headlines that have been published in the papers over the last years, this announcement is of tremendous importance. A magic word has been spoken which shall break the chains and raise the dead from their graves: an urban expansion is on the horizon that shall rejuvenate Vienna’s art scene. As a city of the arts, Vienna, this formidable little town shall finally become Great Vienna, truly a New Vienna. The citizens of Vienna themselves are going to be surprised by the news since all the conspirators behind this project have been untiringly working in deepest silence in their metaphorical mountain retreat. The time of planning is finally over; today action speaks louder than words, for this courageous venture is already secured, both artistically and financially, at least for the next decade.
It was a group of young artists with strong and fresh blood running through their veins whose determination set this movement in motion; it is the most consistent movement in Vienna ever since the fiery temperament and genius of Hans Makart set the world of art on fire. This movement holds great promise; it might follow in the footsteps of all the other great art movements: The Vereinigung der XI
in Berlin who exhibit their art in Schulte’s art gallery or it might even be a Secession just as in Munich, Paris and other art capitals all over the world. It could be an exodus to the Holy Mountain; one part movement of opposition, one part new creation, an Anti-Salon
which will – by nature – always be a salon for the rejected.
At the same time, however, these bold, young Austrians are considerate patriots. They want to be neither frondeurs[3] nor Watergeuzen[4] and even less do they want to wage a guerilla war against the Academy and the Künstlerhaus. It is not the urge to rebel against their elders that is driving them forward. They are not out to offend anyone or to celebrate themselves. No, their goal is to elevate the traditional, classical Austrian art to a modern, international level. The artists themselves put their intention into the following words:
The Death of Juliet, 1886.
Black pencil with white highlights,
27.6 x 42.4 cm.
Graphische Sammlung Albertina, Vienna.
Man’s Head Lying Down
(painting from the ceiling of the
Imperial Venetian Theatre), 1886-1888.
Black chalk, white highlights, 28 x 43 cm.
Graphische Sammlung Albertina, Vienna.
A band of young artists has, driven by an ideal and an unshakeable faith in Vienna’s artistic future, undeterred by any obstacle - founded an association of visual artists for Austria. With the help of several true friends of the arts and supporters who are willing to make sacrifices and disregard material hardship, they want to follow their calling and be artistically active.
Despite their non-confrontational intentions, the V.b.K.Ö is still a warlike
association because they wanted to fight the lack of ideas and the artistic phlegm in today’s art scene. This goal is not to be reached by arguing polemically but by aiming for purely artistic ideals and educating the eye
, the art perception of the masses so that they can better understand the living, ever-evolving nature of art. This better alternative will thus become an enemy of everything that was only good
so far and, naturally, even more hostile towards the bad
.
This task requires immense endurance, for the public has to be broken of it’s tolerance for bad art. The bad
has simply to be made impossible by silencing the demand for it. The necessity for a new renaissance in the arts is evidenced by the presence of quite a few famous names - which are beyond any suspicion of being youthful upstarts - that are joining the ranks of the movement. Grandmaster Rudolf Alt was asked to act as honorary president. Which accusation could there be that is not disproved by his presence? Quite a few academic professors are joining the ranks of the artists: Myslbek, Hellmer, Julian Falat, Hynais. Among our young members are Engelhart and Moll, whose determination is the stuff of legends; Bernatzik, Bacher, Klimt,