Gustav Klimt - Delphi Complete Works of Gustav Klimt (Illustrated)

Gustav Klimt (1862-1918) Contents Delphi Classics 2014 Version 1 Masters of Art Series Gustav Klimt By Delphi Classics, 2014

Masters of Art - Gustav Klimt First published in the United Kingdom in 2014 by Delphi Classics. Delphi Classics, 2014. All rights reserved. No part of this publication may be reproduced, stored in a retrieval system, or transmitted, in any form or by any means, without the prior permission in writing of the publisher, nor be otherwise circulated in any form other than that in which it is published. ISBN: 978 1 91063 057 0 Delphi Classics is an imprint of Delphi Publishing Ltd Hastings, East Sussex United Kingdom Contact: sales@delphiclassics.com www.delphiclassics.com Gustav Klimts birthplace in Baumgarten, near Vienna, in Austria-Hungary. Klimt was the second of seven children.

His mother, Anna Klimt (ne Finster), had an unrealised ambition to be a musical performer and his father, Ernst Klimt the Elder, was a gold engraver. Vienna, 1862 Klimt, c. 1905 THE HIGHLIGHTS In this section, a sample of some of Klimts most celebrated works are provided, with concise introductions, special detail reproductions and additional biographical images.

Painted between 1886 and 1888 for the Burgtheater, Vienna, the Austrian National Theatre and one of the most important German language theatres in the world, this image demonstrates how Klimt, working together with his brother Ernst and their friend Franz Matsch, had successfully established a reputation for producing large scale decorative works for theatres in cities across Austria. In 1886 Klimt had won the prestigious commission to decorate the ceilings in the two monumental staircases that led to the boxes in the newly constructed Burgtheater on Viennas Ringstrasse, as part of an ambitious scheme of urban renewal in the late nineteenth century. Klimts contributions to the project chart the history of theatre from ancient times to the modern era.

The Theatre in Taormina reveals Klimts inspiration from the works of Hans Makart, the master of Vienna historicists, who had died two years before. Klimt was a great admirer of Makarts baroque style of lavish design, as demonstrated in this sumptuous, though decadent scene of the ancient theatre at Taormina, on the east coast of Sicily. However, unlike Makarts more traditional methods, Klimt adopted a more Parisian palette, delineating the subjects with bright colours, whilst depicting the classical buildings with a meticulous clarity that is reminiscent of the works of the Dutch artist Sir Lawrence Alma-Tadema. The various paintings of the Burgtheater scheme were met with general praise, helping to consolidate Klimts reputation as a historical painter in conservative art circles, eventually winning him the esteemed award of the Gold Cross of Merit. Detail Detail Detail The ancient theatre at Taormina is one of the most celebrated ruins in Sicily, due to both its remarkable preservation and its beautiful location. The Burgtheater in Vienna, just after its construction in 1888

This 1888 canvas represents the old theatre in Vienna, detailing the faces of many recognisable personalities in high Austrian society, as they attend an evening performance. The Burgtheater in Vienna, just after its construction in 1888 This 1888 canvas represents the old theatre in Vienna, detailing the faces of many recognisable personalities in high Austrian society, as they attend an evening performance.

Due to its photographic realism the painting was awarded a prize of 4,000 guilders by the Emperor himself, illustrating Klimts versatile talent. During the initial planning of the composition, the artist was reportedly inundated by requests from Viennas socialites, as his fellow citizens were desperate to appear in the much talked about painting. Klimt is believed to have made over a thousand preparatory drawings, whilst arranging the composition. As an exercise in publicity, the painting was a great success and Klimt quickly became a famous figure in Vienna. However, in spite of the realism of the individual figures, the overall effect of this picture has been criticised by some for being stilted and artificial, appearing as an elaborate collage, as the individual subjects fail to interact with each other in the canvas. Detail Detail

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