Incubator escapee wiki

Gustav Klimt

Article Discussion

Template:Short description Template:Redirect Template:Use dmy datesTemplate:Use British English

Template:Infobox artist

Gustav Klimt (14 July 1862 – 6 February 1918) was an Austrian symbolist painter and a founding member of the Vienna Secession movement. His work helped define the Art Nouveau style in Europe. Klimt is known for his paintings, murals, sketches, and other objets d'art. Klimt's primary subject was the female body,Template:Sfn and his works are marked by a frank eroticism.Template:Sfn Amongst his figurative works, which include allegories and portraits, he painted landscapes. He is best known for The Kiss and Portrait of Adele Bloch-Bauer I. Among the artists of the Vienna Secession, Klimt was the most influenced by Japanese art and its methods.<ref>Sotheby's: Gilded Romance: Gustav Klimt's Ornamental Style and the Influence of Japonisme, 19 June 2019</ref>

Early in his career, he was a successful painter of architectural decorations in a conventional manner. As he began to develop a more personal style, his work was the subject of controversy that culminated when the paintings he completed around 1900 for the ceiling of the Great Hall of the University of Vienna were criticized as pornographic. He subsequently accepted no more public commissions, but achieved a new success with the paintings of his "golden phase", many of which include gold leaf. Klimt's work was an important influence on his younger peer Egon Schiele.

Klimt died in 1918, having suffered from a stroke and pneumonia. Since his death, Klimt's paintings have brought some of the highest prices recorded for individual works of art at auction.

BiographyEdit

Early lifeEdit

Gustav Klimt was born in Baumgarten, near Vienna in the Austrian Empire on 14 July 1862. He was the second of seven children: three boys and four girls. His mother, Anna Klimt (née Finster), had an unrealized ambition to be a musical performer. His father, Ernst Klimt the Elder, was a gold engraver formerly from a peasant family in Bohemia.Template:SfnTemplate:Sfn All three of their sons, including Klimt's younger brothers Ernst and Template:Interlanguage link, displayed artistic talent early on. Klimt's siblings occasionally acted as models for his early works.Template:Sfn

Klimt's father often struggled to find work and Klimt lived in poverty while growing up. Between 1862 and 1884 the family had no fewer than 5 different addresses, forced to move in search of cheaper accommodation. The family's struggles worsened in 1874 when five-year-old Anna died after a long illness. Around the same time, Klara, the eldest child, became mentally disturbed and obsessed with religion. She never recovered, and their mother is believed to have suffered frequent, deep depressions.Template:Sfn

Klimt received a basic education at an ordinary Bürgerschule, where his drawing ability was recognised as remarkable.Template:Sfn At the age of fourteen, he was accepted into the Vienna Kunstgewerbeschule, a school of applied arts and crafts, now the University of Applied Arts Vienna, where he studied architectural painting from 1876 until 1883.Template:SfnTemplate:Sfn He studied under Ferdinand Laufberger and later Julius Victor Berger after Laufberger's death in 1881. Klimt revered Vienna's foremost history painter of the time, Hans Makart, and aspired to replicate his success.Template:Sfn Klimt readily accepted the principles of conservative training; his early work may be classified as academic.Template:Sfn Klimt began his professional career with minor commissions, painting interior murals and ceilings in large public buildings on the Ringstrasse.Template:Citation needed

The "Company of Artists"Edit

File:Gustav Klimt in 1887.jpg
Gustav Klimt in 1887

In 1877, Klimt's brother Ernst, who would become an engraver like their father, also enrolled in the Kunstgewerbeschule. Klimt, Ernst, and their friend Franz von Matsch, whom Klimt had met during the entrance examination, soon began working together. By 1880, they had formed a team called the Künstlercompagnie, the "Company of Artists", and secured numerous commissions. They also helped their teacher in painting murals in the Kunsthistorisches Museum in Vienna.Template:Sfn Laufberger recommended them to Fellner & Hellmer, a Viennese firm specialising in theatre construction, with whom they were involved in many projects including in Fiume, Reichenberg, Karlsbad and Bucharest.Template:SfnTemplate:Sfn

After leaving the Kunstgewerbeschule in 1883, Ernst, Klimt, and Matsch move into a joint studio in Vienna to work together on various joint commissions. This work includes ancestral portraits based on engravings for the Romanian royal palace of Peleș Castle.Template:Sfn In 1886 the studio partnership works on painting decoration in the Karlsbad municipal theatre, notably painting the vaulted ceiling and theatre curtain.<ref>{{#invoke:citation/CS1|citation |CitationClass=web }}</ref>Template:Sfn The same year they also start work on the ceiling and spandrel murals for the two staircases of the Burgtheater in Vienna. It is for Klimt's contributions to these murals that upon their completion in 1888, Emperor Franz Joseph I of Austria awards him the Gold Cross of Merit, the highest artistic honour available in Austria.Template:SfnTemplate:Sfn The Viennese City Council also commissioned Klimt to paint a view of the interior of the old theatre before its demolition. His painting, Audience at the Old Burgtheater, helped him obtain recognition among Vienna's high society and public acclaim. In 1890, Klimt became the first recipient of the newly created Template:Interlanguage link award for this work.Template:Sfn<ref>{{#invoke:citation/CS1|citation |CitationClass=web }}</ref> Klimt also became an honorary member of the University of Munich and the University of Vienna.Template:Citation needed

In 1892 the Künstlercompagnie experienced continued success and moved into a larger studio in the Josefstadt district. However later that year Klimt's father died of a stroke,Template:Sfn and his brother Ernst died from pericarditis after a heavy cold. Their deaths had a significant impact on Klimt and he now assumed financial responsibility for both of their families. Grief may have impacted Klimt's artistic vision as he produced little work during the following few years.Template:Sfn He would soon move towards a new personal style. Characteristic of his style at the end of the 19th century is the inclusion of Nuda Veritas ("naked truth") as a symbolic figure in some of his works, including Ancient Greece and Egypt (1891), Pallas Athene (1898) and Nuda Veritas (1899).<ref>{{#invoke:citation/CS1|citation |CitationClass=web }}Template:Dead link</ref><ref>{{#invoke:citation/CS1|citation |CitationClass=web }}</ref> Historians believe that with the nuda veritas Klimt was denouncing both the policy of the Habsburgs and Austrian society, which ignored all political and social problems of that time.<ref>Template:Cite book</ref> In the early 1890s, Klimt met Austrian fashion designer Emilie Louise Flöge, a sibling of his sister-in-law, who was to be his companion until the end of his life. His painting, The Kiss (1907–08), is thought to be an image of them as lovers which was painted five years after Klimt's 1902 full-length portrait of her. He designed many costumes that she produced and modelled in his works.

During this periodTemplate:Which, Klimt fathered at least fourteen children.Template:Sfn

Vienna Secession yearsEdit

File:Gustav Klimt 014.jpg
A section of the Beethoven Frieze, at Secession Building, Vienna (1902)

In 1894, Klimt was commissioned to create three paintings, known as the Faculty Paintings, to decorate the ceiling of the Great Hall of the University of Vienna. Not completed until the turn of the century, his three paintings, Philosophy, Medicine, and Jurisprudence were criticized for their radical themes and material, and were called "pornographic".Template:Sfn Klimt had transformed traditional allegory and symbolism into a new language that was more overtly sexual and hence more disturbing to some.Template:Sfn The public outcry came from all quarters—political, aesthetic and religious. As a result, the paintings were not displayed on the ceiling of the Great Hall.<ref>On 11 November 1905, the artistic commission of the ministry of education examined the projects for the panels of the University' Great Hall. The Klimt's ones were welcomed, unlike Matsch's. However, it was proposed not to exhibit them in the Great Hall, but in the Österreichische Galerie. Klimt rejected the proposal and on 3 April 1905 he wrote to the aforementioned ministry renouncing the assignment, and asking for the return of the sketches, declaring himself willing to return the sum of money that had been advanced to him. In: Template:Cite book</ref> This was to be the last public commission accepted by the artist. All three paintings were destroyed when retreating German forces burned Schloss Immendorf in May 1945,<ref>Template:Cite book</ref><ref name="SchlossImmendorf">{{#invoke:citation/CS1|citation

|CitationClass=web }}</ref> together with another ten paintings, including Schubert at the Piano, Girlfriends (or Two Women Friends), Wally (portrait), The Music (II).<ref name="Johannes1">Johannes Dobai The Complete Works of Klimt, Rizzoli 1978. pp. 94–110.</ref><ref>According to Storkovich, in reality the alleged burned paintings were ten, not thirteen, as Prozession der Toten (Procession of the dead, 1903), Malcesine am Gardasee (1913) and Gastein (1917), never came to Immendorf. Furthermore, she believes there is no convincing evidence that Klimt's three university ceiling paintings were actually destroyed. {{#invoke:citation/CS1|citation |CitationClass=web }}</ref>

Klimt became one of the founding members and president of the Wiener Secession in 1897 and of the group's periodical, Ver Sacrum ("Sacred Spring"). He remained with the Secession until 1908. The goals of the group were to provide exhibitions for unconventional young artists, to bring the works of the best foreign artists to Vienna, and to publish its own magazine to showcase the work of members.Template:Sfn The group declared no manifesto and did not set out to encourage any particular style—Naturalists, Realists, and Symbolists all coexisted. The government supported their efforts and gave them a lease on public land to erect an exhibition hall. The group's symbol was Pallas Athena, the Greek goddess of just causes, wisdom, and the arts—of whom Klimt painted his radical version in 1898.<ref name="PallasAthene">{{#invoke:citation/CS1|citation |CitationClass=web }}</ref>

His Nuda Veritas (1899) defined his bid to further "shake up" the establishment.<ref name="Klimt Nuda Veritas 1899">{{#invoke:citation/CS1|citation |CitationClass=web }}</ref> The starkly naked red-headed woman holds the mirror of truth, while above her is a quotation by Friedrich Schiller in stylized lettering: "If you cannot please everyone with your deeds and your art, please only a few. To please many is bad."Template:Sfn In 1902, animated by resentment Klimt wanted to title the painting Gold Fish (in which a naked woman ostentatiously and maliciously shows her butt), "To my critics", but was dissuaded by friends.<ref name="Johannes1" />

In 1902, Klimt finished the Beethoven Frieze for the Fourteenth Vienna Secessionist Exhibition, which was intended to be a celebration of the composer and featured a monumental polychrome sculpture by Max Klinger. Intended for the exhibition only, the frieze was painted directly on the walls with light materials. After the exhibition the painting was preserved, although it was not displayed again until restored in 1986. The face on the Beethoven portrait resembled the composer and Vienna Court Opera director Gustav Mahler.<ref>Johnson, Julian, Mahler's Voices: Expression and Irony in the Songs and Symphonies. Oxford University Press (Oxford, UK), Template:ISBN, p. 235 (2009).</ref>

In 1905, dissensions within the Secession increased, and when the artistic consultant of the Galerie Mietkhe Carl Moll was attacked by colleagues of the Secession for his work, a strong controversy arose which created a real internal split, led by Klimt. The following year, Klimt formed the group called "Kunstschau" (Art Show) or "Klimt group", which also included Moll and Otto Wagner, among other important Austrian artists.<ref>Johannes Dobai The Complete Works of Klimt, Rizzoli 1978. p. 86.</ref>

During this period Klimt did not confine himself to public commissions. Beginning in the late 1890s he took annual summer holidays with the Flöge family on the shores of Attersee and painted many of his landscapes there, such as Schloss by the Water. These landscapes constitute the only genre aside from figure painting that seriously interested Klimt. In recognition of his intensity, the locals called him Waldschrat ("forest demon").<ref>Template:Citation</ref>

Klimt's Attersee paintings are of sufficient number and quality to merit a separate appreciation. Formally, the landscapes are characterized by the same refinement of design and emphatic patterning as the figural pieces. Deep space in the Attersee works is flattened so efficiently to a single plane that it is believed that Klimt painted them by using a telescope.<ref>Template:Citation</ref>

Golden phase and critical successEdit

File:Gustav Klimt, 1907, Adele Bloch-Bauer I, Neue Galerie New York.jpg
Adele Bloch-Bauer I , which sold for a record $135 million in 2006, Neue Galerie, New York (1907)
File:The Kiss - Gustav Klimt - Google Cultural Institute.jpg
The Kiss, oil on canvas, Österreichische Galerie Belvedere, Vienna (1907–1908)
File:Egon Schiele - Gustav Klimt im blauen Malerkittel - 1913.jpeg
Klimt in a light Blue Smock by Egon Schiele, 1913

From 1900 Gustav Klimt became famous above all as a "painter of women". He created about one large-format portrait of a woman per year, in which he applied the principles of Art Nouveau - flatness, decoration, and gold leaf application. At the same time, he devoted himself to allegories and Old Testament heroines, which he transformed, however, into dangerous "femmes fatales". Eros, sexuality and femininity were variously interpreted by him as alluring danger. Life, love, and death can be determined as the important themes of Klimt's work.<ref>{{#invoke:citation/CS1|citation |CitationClass=web }}</ref> During the early years of the Secessionist Movement, Klimt began incorporating gold leaf into his paintings, a development that would come to define the start of his so-called "Golden Phase". Pallas Athena (1898) is often considered to be the earliest piece from this period, with Judith I (1901) being another notable early example. The most iconic works of this period include Portrait of Adele Bloch-Bauer I (1907), The Kiss (1907–08) and the Stoclet Frieze (1905–1911).<ref>{{#invoke:citation/CS1|citation |CitationClass=web }}</ref> Klimt's golden phase was marked by positive critical reaction and financial success.Template:Citation needed

Klimt travelled all over Europe, mainly to present his works on the occasion of international exhibitions, but trips to Venice and Ravenna, both famous for their beautiful mosaics, most likely inspired his gold technique and his Byzantine imagery. In 1904, he collaborated with other artists on the lavish Stoclet Palace, the home of a wealthy Belgian industrialist that was one of the grandest monuments of the Art Nouveau age. Klimt's contributions to the dining room, including both Fulfillment and Expectation, were some of his finest decorative works, and as he publicly stated, "probably the ultimate stage of my development of ornament."Template:Sfn

In 1905, Klimt painted The Three Ages of Woman, depicting the cycle of life. He created a painted portrait of Margarete Wittgenstein, Ludwig Wittgenstein's sister, on the occasion of her marriage.<ref>Edmunds, D. and Eidenow, J. Wittgenstein's Poker: The Story of a Ten-Minute Argument Between Two Great Philosophers, 2001, page 83.</ref> Then, between 1907 and 1909, Klimt painted five canvases of society women wrapped in fur. His apparent love of costume is expressed in the many photographs of Flöge modelling clothing he had designed.

As he worked and relaxed in his home, Klimt normally wore sandals and a long robe with no undergarments. His simple life was somewhat cloistered, devoted to his art, family, and little else except the Secessionist Movement from which he and many colleagues eventually resigned. He avoided café society and seldom socialized with other artists. Klimt's fame usually brought patrons to his door and he could afford to be highly selective. His painting method was very deliberate and painstaking at times and he required lengthy sittings by his subjects. Although very active sexually, he kept his affairs discreet and he avoided personal scandal.

The artist cultivated close relationships with some of his clients, who were primarily from the assimilated Jewish Viennese Haute bourgeoisie. He cultivated intimate relationships, especially with his models from upper-class circles. He was considered progressive for his time, because he allowed women an active role in sexuality.<ref>Template:Cite news</ref>

Klimt wrote little about his vision or his methods. He wrote mostly postcards to Flöge and kept no diary. In a rare writing called "Commentary on a non-existent self-portrait", he states "I have never painted a self-portrait. I am less interested in myself as a subject for a painting than I am in other people, above all women... There is nothing special about me. I am a painter who paints day after day from morning to night ... Whoever wants to know something about me ... ought to look carefully at my pictures."Template:Sfn

In 1901 Hermann Bahr wrote, in his Speech on Klimt: "Just as only a lover can reveal to a man what life means to him and develop its innermost significance, I feel the same about these paintings."<ref>Template:Citation</ref>

Final years and deathEdit

In 1911 his painting Death and Life received first prize in the world exhibitions in Rome.Template:Citation needed In 1915 Klimt's mother, Anna, died.Template:Sfn

On 11 January 1918, Klimt suffered a stroke that paralysed his right side and required hospitalisation. He died in Vienna on 6 February from pneumonia brought about by the Spanish flu, aged 55.<ref>Template:Citation</ref>Template:Sfn He was buried at the Hietzing Cemetery in Hietzing, Vienna.Template:Sfn Numerous paintings by him were left unfinished.Template:Sfn

FoliosEdit

Gustav Klimt: Das WerkEdit

File:Preparatory design - Klimt - Stoclet Palace.jpg
Klimt often used decorative patterns in his paintings. Die Umarmung ("The Embrace"), the Stoclet Palace in Brussels (1905–1909)

The only folio set produced in Klimt's lifetime, Das Werk Gustav Klimts, was published initially by Hugo Othmar Miethke (of Galerie Miethke, Klimt's exclusive gallery in Vienna) from 1908 to 1914 in an edition of 300, supervised personally by the artist. The first thirty-five editions (I-XXXV) each included an original drawing by Klimt, and the next thirty-five editions (XXXVI–LXX) each with a facsimile signature on the title page.<ref>{{#invoke:citation/CS1|citation |CitationClass=web }}</ref> Fifty images depicting Klimt's most important paintings (1893–1913) were reproduced using collotype lithography and mounted on a heavy, cream-colored wove paper with deckle edges. Thirty-one of the images (ten of which are multi-coloured) are printed on Chine-collé. The remaining nineteen are high-quality halftone prints. Each piece was marked with a unique signet—designed by Klimt—which was impressed into the wove paper in gold metallic ink. The prints were issued in groups of ten to subscribers, in unbound black paper folders embossed with Klimt's name. Because of the delicate nature of collotype lithography, as well as the necessity for multi-coloured prints (a feat difficult to reproduce with collotypes), and Klimt's own desire for perfection, the series that was published in mid-1908 was not completed until 1914.<ref>{{#invoke:citation/CS1|citation |CitationClass=web }}</ref>

Each of the fifty prints was categorized among five themes:

  1. Allegorical (which included multi-coloured prints of The Golden Knight, 1903 and The Virgin, Template:Circa)
  2. Erotic-Symbolist (Water Serpents I and Water Serpents II, both c. 1907–08 and The Kiss, c. 1908)
  3. Landscapes (Farm Garden with Sunflowers, 1907)
  4. Mythical or Biblical (Pallas Athena, 1898; Judith and The Head of Holofernes, 1901; and Danaë, c. 1908)
  5. Portraits (Emilie Flöge, 1902)

The monochrome collotypes as well as the halftone works were printed with a variety of coloured inks ranging from sepia to blue and green. Emperor Franz Joseph I of Austria was the first to purchase a folio set of Das Werk Gustav Klimts in 1908.

Fünfundzwanzig Handzeichnungen - "Twenty-five Drawings"Edit

Fünfundzwanzig Handzeichnungen ("Twenty-five Drawings") was released the year after Klimt's death. Many of the drawings in the collection were erotic in nature and just as polarizing as his painted works. Published in Vienna in 1919 by Gilhofer & Ranschburg, the edition of 500 features twenty-five monochrome and two-colour collotype reproductions, nearly indistinguishable from the original works. While the set was released a year after Klimt's death, some art historians suspect he was involved with production planning because of the meticulous nature of the printing (Klimt had overseen the production of the plates for Das Werk Gustav Klimts, making sure each one was to his exact specifications, a level of quality carried through similarly in Fünfundzwanzig Handzeichnungen). The first ten editions also each contained an original Klimt drawing.<ref>{{#invoke:citation/CS1|citation |CitationClass=web }}</ref>

Many of the works contained in this volume depict erotic scenes of nude women, some of whom are masturbating alone or are coupled in sapphic embraces.<ref>Template:Cite book</ref>Template:Sfn When a number of the original drawings were exhibited to the public, at Galerie Miethke in 1910 and the International Exhibition of Prints and Drawings in Vienna in 1913, they were met by critics and viewers who were hostile towards Klimt's contemporary perspective. There was an audience for Klimt's erotic drawings, however, and fifteen of his drawings were selected by Viennese poet Franz Blei for his translation of Hellenistic satirist Lucian's Dialogues of the Courtesans. The book, limited to 450 copies, provided Klimt with the opportunity to show these more lurid depictions of women and avoided censorship thanks to an audience composed of a small group of (mostly male) affluent patrons.

Gustav Klimt An AftermathEdit

Composed in 1931 by editor Max Eisler and printed by the Austrian State Printing Office, Gustav Klimt An Aftermath was intended to complete the lifetime folio Das Werk Gustav Klimts. The folio contains thirty coloured collotypes (fourteen of which are multi-coloured) and follows a similar format found in Das Werk Gustav Klimts, replacing the unique Klimt-designed signets with gold-debossed plate numbers. One hundred and fifty sets were produced in English, with twenty of them (Nos. I–XX) presented as a "gala edition" bound in gilt leather. The set contains detailed images from previously released works (Hygeia from the University Mural Medicine, 1901; a section of the third University Mural Jurisprudence, 1903), as well as the unfinished paintings (Adam and Eve, Bridal Progress).

Selected worksEdit

PaintingsEdit

{{#invoke:Labelled list hatnote|labelledList|Main article|Main articles|Main page|Main pages}}

DrawingsEdit

File:Gustav Klimt - Rosebushes under the Trees - Google Art Project.jpg
Rosebushes under the Trees, c. 1905
File:Klimt - Oberösterreichisches Bauernhaus.jpeg
Oberösterreichisches Bauernhaus, 1911

In 1963, the Albertina museum in Vienna began researching the drawings of Gustav Klimt. The research project Gustav Klimt. Die Zeichnungen, has since been associated with intensive exhibition and publication activities.

Between 1980 and 1984 Alice Strobl published the three-volume catalogue raisonné, which records and describes all drawings by Gustav Klimt known at the time in chronological order. An additional supplementary volume was published in 1989. In the following year Strobl transferred her work to the art historian and curator Marian Bisanz-Prakken, who had assisted her since 1975 in the determination and classification of the works and who continues the research project to this day. Since 1990, Marian Bisanz-Prakken has redefined, documented, and scientifically processed around 400 further drawings.<ref>{{#invoke:citation/CS1|citation |CitationClass=web }}</ref>

This makes the Albertina Vienna the only institution in the world that has been examining and scientifically classifying the artist's works for half a century. The research project now includes information on over 4,300 works by Gustav Klimt.

  • GUGG Two Female Nudes Standing.jpg

    Two Female Nudes Standing, c. 1900, Solomon R. Guggenheim Museum

  • GUGG Girl Seated in a Chair.jpg

    Girl Seated in a Chair, 1904, Solomon R. Guggenheim Museum

  • Gustav Klimt, Portrait of a Woman, c. 1910, NGA 48302.jpg

    Portrait of a Woman, c. 1910, National Gallery of Art

  • Klimt Mulher sentada.jpg

    Seated woman masturbating, 1913

  • Gustav Klimt's Curled up Girl on Bed.jpg

    Curled up Girl on Bed, The National Gallery of Art. (ca. 1916–1917)

LegacyEdit

Posthumous auction historyEdit

Template:Update

File:Klimt-Villa 2013 Atelier 02.jpg
Klimt's reconstructed studio (2013) at the Klimt Villa. On display are copies of the paintings Woman with Fan and The Bride (both c. 1917–18)

Klimt's paintings have brought some of the highest prices recorded for individual works of art. In November 2003, Klimt's Landhaus am Attersee sold for $29,128,000,<ref>Template:Citation.</ref> but that sale was soon eclipsed by prices paid for Willem de Kooning's Woman III and later Klimt's own Adele Bloch-Bauer II, the latter of which sold for $150 million in 2016. More frequently than paintings, however, the artist's works on paper can be found on the art market. The art market database Artprice lists 67 auction entries for paintings, but 1564 for drawings and watercolours.<ref>{{#invoke:citation/CS1|citation |CitationClass=web }}</ref> The most expensive drawing sold so far was "Reclining Female Nude Facing Left", which was made between 1914 and 1915 and sold in London in 2008 for Template:GBP.<ref>{{#invoke:citation/CS1|citation |CitationClass=web }}</ref> However, the majority of the art trade traditionally takes place privately<ref>Template:Cite newsTemplate:Cbignore</ref> through galleries such as Wienerroither & Kohlbacher, which specialize in the trade with original works by Gustav Klimt and Egon Schiele and regularly present these at monographic exhibitions and international art fairs.<ref>{{#invoke:citation/CS1|citation |CitationClass=web }}</ref><ref>{{#invoke:citation/CS1|citation |CitationClass=web }}</ref>

In 2006, the 1907 portrait, Adele Bloch-Bauer I, was purchased for the Neue Galerie New York by Ronald Lauder reportedly for US$135 million, surpassing Picasso's 1905 Boy With a Pipe (sold 5 May 2004 for $104 million), as the highest reported price ever paid for a painting at that time.<ref>Template:Cite news</ref>

On 7 August 2006, Christie's auction house announced it was handling the sale of the remaining four works by Klimt that were recovered by Maria Altmann and her co-heirs after their long legal battle against Austria (see Republic of Austria v. Altmann). Altmann's fight to regain her family's paintings has been the subject of a number of documentary films, including Adele's Wish.<ref>{{#invoke:citation/CS1|citation |CitationClass=web }}</ref> Her struggle also became the subject of the dramatic film Woman in Gold, a movie inspired by Stealing Klimt, the documentary featuring Maria Altmann herself.<ref>{{#invoke:citation/CS1|citation |CitationClass=web }}</ref> The portrait of Adele Bloch-Bauer II was sold at auction in November 2006 for $88million, the third-highest-priced piece of art at auction at the time.<ref name="Michaud 2006-11-09">Template:Citation</ref><ref name="bslaw 2006-11-09">{{#invoke:citation/CS1|citation |CitationClass=web }}</ref> The Apple Tree I (c. 1912) sold for $33million, Birch Forest (1903) sold for $40.3million,Template:Sfn and Houses in Unterach on Lake Atter (1916) sold for $31million. Collectively, the five restituted paintings netted more than $327million.Template:Sfn The painting Litzlberg am Attersee was auctioned for $40.4million in November 2011.<ref>Template:Cite newsTemplate:Cbignore</ref>

Klimt's last painting, Lady with a Fan (Dame mit Fächer, 1918), was sold by Sotheby's in London on 27 June 2023 for UK£85.3M (US$108.4) to a Hong Kong collector, the highest-priced artwork ever sold at auction in Europe.<ref>Template:Cite news</ref>

File:El príncipe Guillermo Nii Nortey Dowuona - Gustav Klimt.jpg
Prince William Nil Nortey Dowuona (1897)

In 2021, the portrait of a young African man Prince William Nil Nortey Dowuona (1897), which had been lost after the Second World War, was rediscovered and restored by the Wienerroither & Kohlbacher gallery in Vienna, which is offering it for sale until 25 March 2025 with a starting bid of €15million ($16.4m). The painting has been authenticated by Alfred Weidinger, considered one of the greatest experts on Klimt. The young man in the portrait was a dignitary of the African Osu tribe, brought to Vienna as a kind of "anthropological curiosity". The painting remained in Klimt's studio until his death, until it was offered for sale at 15,000 Austrian crowns in 1923. It had entered the collection of the Viennese Jew Ernestine Klein by 1928. Klein and her husband Felix also converted Klimt's former studio into a villa. She was forced into exile in 1938, after the Nazi Anschluss.<ref name="Osu#">{{#invoke:citation/CS1|citation |CitationClass=web }}</ref> The painting has been subject to a restitution settlement with Ernestine Klein's heirs.<ref name="Osu#" />

Visual artEdit

File:Gustav Klimt - Beech Grove I - Google Art Project.jpg
Gustav Klimt – Beech Grove I, 1902

According to the writer Frank Whitford: "Klimt of course, is an important artist—he's a very popular artist—but in terms of the history of art, he's a very unimportant artist. Although he sums up so much in his work, about the society in which he found himself—in art historical terms his effect was negligible. So he's an artist really in a cul-de-sac."<ref>Whitford, speaking on The Kiss: The Private Life of a Masterpiece, BBC TV</ref> Klimt's work had a strong influence on the paintings of Egon Schiele, with whom he would collaborate to found the Kunsthalle (Hall of Art) in 1917, to try to keep local artists from going abroad. Artists who reinterpreted Klimt's work include Slovak artist Rudolf Fila.<ref>Template:Cite book</ref>

LegacyEdit

Already during his lifetime, Klimt influenced other artists, such as the Italian Liberty style artist Galileo Chini (1873–1956).<ref>Template:Cite book</ref> Klimt was exhibited at the 1910 Venice Biennale. Chini and Vittorio Zecchin (1878–1947) created a number of panels in 1914 for the Venice Hotel Terminus called "La Primavera" and "Mille e una notte".<ref>{{#invoke:citation/CS1|citation |CitationClass=web }}</ref><ref>{{#invoke:citation/CS1|citation |CitationClass=web }}</ref><ref>{{#invoke:citation/CS1|citation |CitationClass=web }}</ref> These were later exhibited in the Boncompagni Ludovisi Decorative Art Museum.<ref>{{#invoke:citation/CS1|citation |CitationClass=web }}</ref>

In 1972 the Vienna State Opera presented a new production of Salome, an opera by Oscar Wilde and Richard Strauss, in a Klimt-inspired stage setting and costumes by Jürgen Rose. This production, directed by Boleslaw Barlog and first conducted by Karl Böhm, became extremely popular and stayed in the repertoire for nearly fifty years. It was shown in 265 performances and went on tour to Florence, Washington and twice in Japan.<ref>Online-Merker: WIEN/ Staatsoper: SALOME – die letzte und die beste der Serie, 25 January 2015</ref><ref>Vienna State Opera, Archive of all Performances: Salome | Neuproduktion vom 22.12.1972, retrieved on 24 August 2023</ref>

In 2006 an Austrian art-house biographical film about his life, Klimt, was released with John Malkovich in the lead role.<ref>{{#invoke:citation/CS1|citation |CitationClass=web }}</ref> In 2008 the Couturier John Galliano found inspiration for the Christian Dior Spring-Summer 2008 haute couture collection in Klimt's work.Template:Citation needed The 2013 collection of designer Alexander McQueen was partially inspired by Klimt.<ref>{{#invoke:citation/CS1|citation |CitationClass=web }}</ref>

Gustav Klimt and his work have been the subjects of many collector coins and medals, such as the 100 Euro Painting Gold Coin, issued on 5 November 2003, by the Austrian Mint. The obverse depicts Klimt in his studio with two unfinished paintings on easels.<ref>{{#invoke:citation/CS1|citation |CitationClass=web }}</ref>

File:Friedrich Walker, plaque autochrome-Lumière, Gustav Klimt vers 1910.jpg
An early colour photo taken of Klimt using Autochrome technology, 1910s

Tawny Chatmon, an American photographic artist known for her portraits of Black children overlaid with gold leaf and paint, has sought to place Black figures in glittering gold clothing inspired by Klimt's lavish portraits of white Viennese women.<ref>{{#invoke:citation/CS1|citation |CitationClass=web }}</ref>

Elements of the portrait of First Lady Michelle Obama, by Amy Sherald in 2018, have been noted by art critics to have been influenced by Klimt, in particular the Portrait of Adele Bloch-Bauer I.<ref>Template:Cite news</ref> One commentator noted the similarity to fashion designed by Klimt's muse Emilie Louise Flöge.<ref>{{#invoke:citation/CS1|citation |CitationClass=web }}</ref>

Commemoration of the 150th anniversary of birthEdit

The city of Vienna, Austria had many special exhibitions commemorating the 150th anniversary of Klimt's birth in 2012.<ref>Adams, Alexander. "Sheer sensuality: Alexander Adams reports on an exhibition devoted to the drawings of Gustav Klimt—one of a number of shows taking place this year to mark the 150th anniversary of the artist's birth." Apollo, vol. 176, no. 600, July–Aug. 2012, p. 98+.</ref>

Google commemorated Gustav Klimt with a Google doodle<ref>{{#invoke:citation/CS1|citation |CitationClass=web }}</ref> celebrating Klimt's painting The Kiss on his 150th birthday, 14 July 2012.<ref name="gustav-klimts-150th-birthday">{{#invoke:citation/CS1|citation |CitationClass=web }}</ref><ref>{{#invoke:citation/CS1|citation |CitationClass=web }}</ref>

In 2012, the Austrian Mint began a five-coin gold series to coincide with the 150th anniversary of Klimt's birth. The first 50 Euro gold coin was issued on 25 January 2012 and featured a portrait of Klimt on the obverse and a portion of his painting of Adele Bloch-Bauer.<ref>Coin Update News New Austrian Gold Coin Series "Klimt and His Women" Template:Webarchive 13 January 2012.</ref>

Gustav Klimt FoundationEdit

In 2013, the Gustav Klimt Foundation was set up by Ursula Ucicky, widow of Klimt's illegitimate son Gustav Ucicky, with a mission to "preserve and disseminate Gustav Klimt's legacy." The managing director of the Leopold Museum, Peter Weinhäupl, was appointed as chairman of the foundation. As a reaction, the museum's director Tobias G. Natter resigned in protest, citing Ucicky's past as a Nazi propaganda filmmaker.<ref>Julia Michalska (30 October 2013), Vienna's Leopold Museum director resigns in protest Template:Webarchive The Art Newspaper.</ref>

Nazi-looted art: restitution and litigationEdit

In 2000, a government committee recommended that Klimt's Lady with Hat and Feather Boa, in Belvedere Museum in Vienna, be restituted to the heirs of the Jewish family that had owned it before the Nazi Anschluss.<ref>Template:Cite news</ref>

National Public Radio reported on 17 January 2006 that "The Austrian National Gallery is being compelled by a national arbitration board to return five paintings by Gustav Klimt to a Los Angeles-based woman, the heir of a Jewish family that had its art stolen by the Nazis. The paintings are estimated to be worth at least $150 million."<ref>Burbank, Luke Austria to return paintings to Jewish heir, National Public Radio, 17 January 2006.</ref> This incident, involving Maria Altmann, was subsequently made into the Hollywood movie Woman in Gold, starring Helen Mirren.<ref>Template:Cite newsTemplate:Cbignore</ref>

Later that year, the most notable of the five paintings, 1907's Portrait of Adele Bloch-Bauer I (also known as “The Woman in Gold”), was sold at auction for $135 million (at the time, the highest price ever paid for a single painting). The winning bidder was art collector Ronald S. Lauder, founder of Neue Galerie in New York, where it remains on display.<ref>Template:Cite news</ref><ref>{{#invoke:citation/CS1|citation |CitationClass=web }}</ref>

In 2009 the Lentos Art Museum in Linz, Austria restituted Klimt's Portrait of Ria Munk III (Frauenbildnis) to the heirs of Aranka Munk, a Jewish art collector in Vienna who was murdered in the Holocaust. The looted portrait was of her daughter.<ref>{{#invoke:citation/CS1|citation |CitationClass=web }}</ref>

In 2021 the French minister of culture announced that the only Klimt in France's national collections was Nazi loot which should be restituted to the heirs of the Jewish family that had been persecuted by Nazis.<ref>{{#invoke:citation/CS1|citation |CitationClass=web }}</ref> Rosebushes Under the Trees, painted in 1905, had been owned by Nora Stiasi, who had been forced to sell it before being murdered by the Nazis.<ref>Template:Cite news</ref> It is currently hanging in France's Orsay Museum which purchased it from Swiss art dealer Peter Nathan in 1980.<ref>{{#invoke:citation/CS1|citation |CitationClass=web }}</ref>

A similar painting, also painted by Klimt and known as Apple Trees II, which was also Nazi loot, was mistakenly returned to the wrong family by the Austrian authorities.<ref>{{#invoke:citation/CS1|citation |CitationClass=web }}</ref>

Other Klimts that have been the object of ownership battles owing to a history of Nazi looting include the Beethoven Frieze,<ref>{{#invoke:citation/CS1|citation |CitationClass=web }}</ref><ref>{{#invoke:citation/CS1|citation |CitationClass=web }}</ref> Water Snakes II,<ref>{{#invoke:citation/CS1|citation |CitationClass=web }}</ref> Blooming Meadow<ref>{{#invoke:citation/CS1|citation |CitationClass=web }}</ref> and Portrait of Gertrude Lowe.<ref>{{#invoke:citation/CS1|citation |CitationClass=web }}</ref>

In 2023, Ronald S. Lauder agreed to restitute and repurchase Klimt's “The Black Feather Hat,” which had belonged to Irene Beran, before she fled the Nazis. The painting's provenance was unclear after it left Beran's collection, resurfacing in Stuttgart in connection to the Nazi Friedrich Welz. Beran's mother and former husband Philip were murdered by the Nazis after being deported to the Theresienstadt concentration camp.<ref>{{#invoke:citation/CS1|citation |CitationClass=web }}</ref><ref>{{#invoke:citation/CS1|citation |CitationClass=web }}</ref>

See alsoEdit

ReferencesEdit

Template:Reflist

BibliographyEdit

  • Tobias G. Natter, Max Hollein (Eds.): Klimt & Rodin: An Artistic Encounter, DelMonico Books – Prestel Publishing, Munich 2017, Template:ISBN.
  • Tobias G. Natter (Ed.): Gustav Klimt: The Complete Paintings, Taschen, Cologne 2012, Template:ISBN.
  • O'Connor, Anne-Marie (2012). The Lady in Gold, The Extraordinary Tale of Gustav Klimt's Masterpiece, Portrait of Adele Bloch-Bauer, Alfred A. Knopf, New York, Template:ISBN.
  • Tobias G. Natter, Christoph Grunenberg (Eds.):Gustav Klimt. Painting, Design and Modern Life, Tate Publishing, London 2008, Template:ISBN.
  • Salfellner, Harald (2018), Klimt. An Illustrated Life.
  • The Belvedere Vienna & The Van Gogh Museum Amsterdam (editors) (2023), Klimt. Inspired by Van Gogh, Rodin, Matisse.... Hirmer. Template:ISBN.

InlineEdit

Further readingEdit

Template:Refbegin

Template:Refend

External linksEdit

Template:Sister project Template:External media 

 | title/{{#if: {{#invoke:ustring|match|1=0417871|2=^tt}}
   | Template:Trim/
   | tt0417871/
   }}
 | {{#if: {{#property:P345|from=}}
   | title/Template:First word/
   | find?q=%5B%5B%3ATemplate%3APAGENAMEBASE%5D%5D&s=tt
   }}
 }}{{#ifeq: {{#invoke:If any equal|main|Q618779|Q67325957|Q33999|value=Template:Wikidata}} | yes 
     | {{#switch: Template:Wikidata 
       | Q618779 
       | Q67325957  = awards Awards for
       | Q33999  = fullcredits Full cast and crew of
       }}
   | {{#if: Template:Wikidata 
     | {{#switch: Template:Wikidata
       | Q63032896 
       | Q66763446  = fullcredits Full cast and crew of
       | Q107974527 
       | Q482994  = soundtrack Soundtrack of
       }}
     }}
   }} Template:Trim] at {{#if: | IMDb | IMDb }}Template:EditAtWikidata{{#invoke:Check for unknown parameters|check|unknown=Template:Main other|preview=Page using Template:IMDb title with unknown parameter "_VALUE_"|showblankpositional=1| 1 | 2 | 3 | description | id | link_hide | qid | quotes | title }}{{#switch: {{#invoke:String2|matchAny|^tt.........|^tt.......|tt|.........|source=0417871|plain=false}}| 1 | 3 = Template:Main otherTemplate:Preview warning| 4 = Template:Main otherTemplate:Preview warning}}{{#if: 0417871 {{#property:P345}} || Template:Preview warningTemplate:Main other }}{{#switch: Template:Wikidata

| Q21191270 | Q21664088 | Q50062923 | Q50914552 | Q99079902 | Q123186929 | Q55422400 | Q61220733 =Template:Preview warning | Q3464665 =Template:Preview warning }}{{#ifeq: Template:Wikidata | Q21191270 |Template:Preview warning }}{{#if: 0417871 | Template:WikidataCheck }}

Template:Gustav Klimt Template:Vienna Secession Template:Authority control

Retrieved from "https://zalansite.site/mediawiki/index.php?title=Gustav_Klimt&oldid=7845"