Biography of the Austrian Artist and Symbolist Gustav Klimt - Essay Example

Gustav Klimt was the second born in a family of seven. Born on July 14, 1862 near Vienna in Baumgarten to a gold engraver, he learnt about art from his early childhood. His father believed that all his sons ought to be artists and this was well picked by Gustav and his two brothers1. They were trained in all aspects regarding art and exhibited promising talent. They were poor and luxuries such as training to be an artist could not be afforded. However, Gustav worked hard and earned a scholarship to the Vienna School of Arts and Crafts. Here he sharpened his artistic skills following in the footsteps of his mentor and favorite artist, Han Makart. After graduating from the school in 1883, Gustav worked jointly with his brother Ernst and Franz Matsch a co-student. They opened a studio where they displayed art from other artists such as Laufberger’s graffiti designs for the Art Historical Museum. In 1886 they received a prize for their design for the decoration of the staircases of Burgtheater2. The painting depicted who’s who in ordinary life in Vienne. Soon after their career kicked off they separated and went separate ways. Gustav’s first professional job was when he was asked to make a painting of Ringstrasse.At this time Vienna was in the Ringstrasse Era a period when the city was undergoing great change3. The Vienna city was built as one massive ring, and arts were being patronized as never before by the bourgeois class. The city was entering an age of industrialization, science and research. However it still lacked a revolutionary spirit to the arts. In1883he received a nomination for professor at Vienna Academy but he was rejected. 1888 saw Klimt receive the award for Golden Order of the Merit from Emperor Franz Joseph 1 of his native country. He then became an honorary member of University of Vienna and University of Munich both of which he never attended. This was in recognition of his art projects within and around Vienna. Four years later his brother Ernst and his father died and it is not clear whether these deaths were the main cause for his new rebellious and experimental style of art or his earlier rejection to professorship at the Academy of Fine Arts by the Ministry of Culture. Since then his art changed. Gustav replaced his earlier classical iconography and replaced it with strong sensual themes. This was first depicted in his painting of 1894when he was appointed to paint some portraits to hang in the dome of University of Vienna. Soon after completion they were immediately taken down since many people considered them too sexual. This can be seen if you look at one of the paintings for instance the portrait “Love” painted in 1895. This art was a realistic portrait showing two young lovers, in a garden shortly before dark. Three other female portraits are seen to appear out of the mist just above the lovers and these are thought to represent the various ages of omen. Another monstrous looking face appears on the left which is believed to represent old age and finally death. This portrayal of women and nudity made many people reject this work and considered it as pornographic work. The university itself refused to make payments for them or have any association with them since they considered them too erotic. These paintings would later be completely destroyed in 1945 hence there exists no record of them whatsoever. In 1897 an exhibition association was formed by a group of artists from Viennese by the name “Secession”. It mainly consisted of artists who did not want to be classified or associated with certain styles or those rejected by other art cliques4. Gustav fitted here perfectly considering his rebellious nature and rejection by others. The group also published a monthly paper and Gustav participated fully in its edition and circulation. Its main aim was to promote modern art and Gustav was made the president. It collected work from not only members but other artists such as Augustine Rodin, Puvis de Chavannes, Carriere and Mucha all from France and Arnold Boecklin of Swiss origin. All these were considered ultra modern artists and this created a heated controversy. This rebellion of the Secessionists against the conservative Kunstelrhauslaid the basis for modern art in Vienna and the world at large to express ones opinion in art without restrictions5. Soon after being elected president Gustav was chosen to design the poster for the group. He portrayed Theseus without a fig leaf which possibly indicated the new trend that his future art would take for the rest of his life. The selection committee had a very negative reaction and dislike for this concession. In 1898 Gustav painted “Sonja Knips” followed by “Pallus Athena”. Sonja Knips received much success but Pallus Athena was widely rejected. This was so because he painted an armored female holding NudaVeritas in her hand. This portrait was considered erotic, hostile and against the norms and standards that prevailed at the time6. In essence it threatened feminine thought. Soon after, he started working on “Philosophy” which depicted his idea of the world at the time and the changing styles in art. It emphasized that modern man had lost his touch with his basic existence. His iconography consisted of old age, sickness, disease, ugliness and decay. More emphasis was on the fact that life cycle was natural, that is life and death, which is totally different from consequential being of mankind. When professors got to understand what the portrait depicted they rejected it deeming it an attack on orthodoxy7. Other famous paintings by Gustav include his 1902 painting of “Beethoven Frieze” as a tribute to Beethoven, “Goldfish” as a rebellion to the rejection of “Philosophy” and “The Kiss” which is considered his greatest piece of work. As the painting of Beethoven “The Kiss” is entirely in gold except the faces of the people. The man in the picture clutches the girl, never to let her go, and gives her a kiss similar to one that one would give asa last kiss. The emotions one can draw from this painting are incredible. While many critics and historians argue that Gustav’s work should not be included in modern art, his portraits especially those dated past 1900 reveal the visual combination of old and modern art for both the real and abstract. Since his work was produced during a time of radical changes and ideas, his ideas have formed the basis for modern art and the evidence can be seen in his paintings. References Fann, KT. Ludwig Wittgenstein: the man and his philosophy. New York: Humanities Press, 1978. Fliedl, G. Gustav Klimt, 1862-1918: the world in female form. New York: Taschen America Llc, 1997. Florman, L. "Gustav Klimt and the Precedent of Ancient Greece." JSTOR, 1990: 21-62. Hofmann, W. Gustav Klimt. 1972. getcited.org (accessed April 14, 2012). Klimt, G. Gustav Klimt, modernism in the making. New York: Abrams, 2001. —. Gustav Klimt: drawings & watercolours: with 309 illustrations, 282 in colour. New York: Thames & Hudson, 2005. —. Klimt: life and work. Chicago: Dorset Press, 1989. Leitne, B. The architecture of Ludwig Wittgenstein: a documentation. Nova Scotia: Press of the Nova Scotia College, 1973. Loos, A. Spoken into the Void: Collected Essays by Adolf Loos, 1897-1900. 1987. mitpress.mit.edu (accessed Apirl 13, 2012). Nebehay, Christian M, and Gustav Klimt. Gustav Klimt: From drawing to painting. New York: H.N. Abrams, 1994. Néret, Gilles. Gustav Klimt: 1862-1918. New York: Taschen, 2000. Partsch, S. Gustav Klimt: painter of women. Munich: Prestel Pub, 1994. Read More