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kvinnoportratt
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kvinnoportratt
omkring 1916-17
piacenza galleria ricci- oddi 60x55cm
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kvinnoportratt
new22/Gustav Klimt-536873.jpg
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kvinnoportratt
1917-18 linz, neue galerie der stadt linz, wolfgang gurlitt-museum 180x90cm
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spadarn
new22/Gustav Klimt-347347.jpg
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spadarn
1917-18. washington, D:C national gallery of art, 110x110cm
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en face - portratt av kvinna,
new22/Gustav Klimt-289443.jpg
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en_face_-_portratt_av_kvinna,
1917-18
linz, neue galerie der stadt linz, wolfgang gurlitt-museum, 67x56cm
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portratt av kvinna i vitt
new22/Gustav Klimt-682628.jpg
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portratt__av_kvinna_i_vitt
1917-18, wien osterreichische galerie, 70x70cm
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Gustav_Klimt
Austrian Art Nouveau Painter, 1862-1918
Gustav Klimt (July 14, 1862 ?C February 6, 1918) was an Austrian Symbolist painter and one of the most prominent members of the Vienna Art Nouveau (Vienna Secession) movement. His major works include paintings, murals, sketches, and other art objects, many of which are on display in the Vienna Secession gallery. Klimt's primary subject was the female body, and his works are marked by a frank eroticism--nowhere is this more apparent than in his numerous drawings in pencil.
Klimt's work is distinguished by the elegant gold or coloured decoration, often of a phallic shape that conceals the more erotic positions of the drawings upon which many of his paintings are based. This can be seen in Judith I (1901), and in The Kiss (1907?C1908), and especially in Danaë (1907). One of the most common themes Klimt utilized was that of the dominant woman, the femme fatale. Art historians note an eclectic range of influences contributing to Klimt's distinct style, including Egyptian, Minoan, Classical Greek, and Byzantine inspirations. Klimt was also inspired by the engravings of Albrecht D??rer, late medieval European painting, and Japanese Rimpa school. His mature works are characterized by a rejection of earlier naturalistic styles, and make use of symbols or symbolic elements to convey psychological ideas and emphasize the "freedom" of art from traditional culture.
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