Gustav Klimt Factsheet

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Gustav Klimt 1862 - 1918 Gustav Klimt was born on 14th July 1862 in many hours to complete. Austria. His mother was a musical performer and his father was an engraver of gold. Klimt lived a simple life. When at home, he Gustav was a talented artist from a young wore a long robe and sandals. He painted all age and he attended the Vienna School of day, every day. Some of Klimt’s most famous Arts and Crafts. works include: ‘The Kiss’, ‘Portrait of Adele Bloch-Bauer I’, ‘Houses in Unterach on the In 1877, he formed an artistic team with Attersee’, and ‘Portrait of Adele Bloch-Bauer his brother, Ernst Klimt, and their friend, II’. Gustav Klimt never painted a self-portrait. Franz Matsch, painting murals in Vienna’s museums. In the 1880s, Klimt became well- Klimt died on 6th February 1918. He suffered known for his mural painting. He even with pneumonia following a severe influenza received the Golden Order of Merit from the outbreak, and he died of a stroke. He is buried Austrian Emperor. Gustav’s brother, Ernst, in Vienna. and their father both died in 1892. One final interesting fact about Klimt is that From then, Gustav’s artistic style changed. his ‘Adele Bloch-Bauer I’ portrait sold in 2006 His work began to include lots of symbolism. at auction for more money than any other Symbolist painters used a wide variety of painting ever had before: $135 million! In the subjects including heroes, women, animals, painting, the model is covered in a golden and landscapes. They gave these subjects deep gown. The gown is elaborately decorated with meanings such as love, death, sin, religion, fancy details and gold leaf. The gown forms a or disease. They would use metaphors (or powerful symbol of a person changing their symbols) rather than real life to represent identity as well as the hope of the future. something. Klimt’s paintings also incorporated gold leaf and were very intricate, so they took visit twinkl.com Photos courtesy of centralasian(@flickr.com) - granted under creative commons licence - attribution.

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Gustav Klimt Vienna – Japan 1900 Tokyo Metropolitan Art Museum (23
Gustav Klimt Vienna – Japan 1900 Tokyo Metropolitan Art Museum (23. April – 10. Juli 2019) Toyota Municipal Museum of Art (23. Juli 2019 – 14. Oktober 2019) Gustav Klimt, Judith, 1901 Foto: Johannes Stoll © Belvedere, Wien Gustav Klimt. Wien und Japan 1900 Tokyo Metropolitan Art Museum, Japan 23. April bis 10. Juli 2019 Toyota Municipal Museum of Art, Japan 23. Juli bis 14. Oktober 2019 Das Belvedere präsentiert gemeinsam mit dem Tokyo Metropolitan Art Museum, dem Toyota Municipal Museum of Art und Japans führender Zeitung Asahi Shimbun die größte Klimt-Ausstellung in Japan seit Jahrzehnten. 115 Objekte, darunter zehn Klimt-Gemälde aus der Belvedere Sammlung und weitere prominente Werke aus aller Welt bereichern diese eindrucksvolle Schau, die anlässlich des Jubiläums 150 Jahre diplomatische Beziehungen zwischen Österreich und Japan gezeigt wird. „Gustav Klimt hat viele Stilmittel aus der japanischen Kunst und dem Kunsthandwerk übernommen und drückte damit seine Hochachtung vor dieser Kultur aus. Aus diesem Grund eignen sich seine Werke besonders gut für einen interkulturellen Austausch zwischen Österreich und Japan. In dieser umfassenden Ausstellung ist es gelungen, eine Zusammenstellung seiner Werke zu zeigen, wie sie in Japan noch nie zu sehen war“, so Stella Rollig, Generaldirektorin des Belvedere. Kuratiert und gestaltet hat die Ausstellung der Belvedere-Kurator Markus Fellinger, der sich inhaltlich auf zwei Schwerpunkte konzentriert: auf den Einfluss der Persönlichkeit des Künstlers in seinem Werk und auf die Bezüge zur japanischen Kunst. „Wie kaum ein anderer Künstler lässt Gustav Klimt durch sein Werk auf seine Persönlichkeit schließen, er weist sogar selbst darauf hin. Für mich war dies die Anregung dazu, den Spuren und Zeugnissen von Klimts Privat- und Seelenleben in seinen vielschichtigen und detailreichen Werken nachzuspüren“, so Markus Fellinger.
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KOLOMAN MOSER Ø KOLOMAN DESIGNING MODERN VIENNA Ø MOSER 1897–1907 Edited by Christian Witt-Dörring
5294-NG_MOSER_jacket_offset 19.03.13 13:47 Seite 1 MOSER KOLOMAN KOLOMAN MOSER ø KOLOMAN DESIGNING MODERN VIENNA ø MOSER 1897–1907 Edited by Christian Witt-Dörring With preface by Ronald S. Lauder, foreword by Renée Price, and contributions by Rainald Franz, Ernst Ploil, Elisabeth Schmuttermeier, Janis Staggs, Angela Völker, and Christian Witt-Dörring FRONT COVER: This catalogue accompanies an (TOP ROW) Armchair, ca. 1903, Neue Galerie DESIGNING New York; Easter egg, 1905, A.P. Collection, MODERN VIENNA exhibition at the Neue Galerie London; (MIDDLE ROW) Vase, 1905, New York and the Museum of A.P. Collection, London; Jewelry box, 1907, 1897–1907 Fine Arts, Houston, devoted to Private Collection; (BOTTOM ROW) Vase, 1903, Ernst Ploil, Vienna; Bread basket, 1910, Austrian artist and designer Asenbaum, London Koloman Moser (1868–1918). It BACK COVER: is the first museum retrospec- (TOP ROW) Centerpiece with handle, 1904, tive in the United States focused Private Collection; Coffer given by Gustav on Moser’s decorative arts. The Mahler to Alma Mahler, 1902, Private Collection; (MIDDLE ROW) Two napkin rings, exhibition is organized by Dr. 1904, Private Collection; Table, 1904, Private Christian Witt-Dörring, the Neue Collection; (BOTTOM ROW) Mustard pot, 1905, Private Collection; Display case for the Galerie Curator of Decorative Arts. Schwestern Flöge (Flöge Sisters) fashion salon, 1904, Private Collection The exhibition and catalogue survey the entirety of Moser’s decorative arts career. They ex- amine his early work as a graphic designer and his involvement with the Vienna Secession, with spe- cial focus given to his role as an PRESTEL PRESTEL artist for the journal Ver Sacrum (Sacred Spring).
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Birth of Modernism
EN OPENING MARCH 16TH BIRTH OF (Details) Wien Museum, © Leopold Werke: Moriz Nähr ÖNB/Wien, Klimt, Weitere Gustav Pf 31931 D (2). MODERNISM PRESS RELEASE VIENNA 1900 BIRTH OF MODERNISM FROM 16TH MARCH 2019 The exhibition Vienna 1900. Birth of Modernism has been conceived as the Leopold Muse- um’s new permanent presentation. It affords insights into the enormous wealth and diver- sity of this era’s artistic and intellectual achievements with all their cultural, social, political and scientific implications. Based on the collection of the Leopold Museum compiled by Ru- dolf Leopold and complemented by select loans from more than 50 private and institutional collections, the exhibition conveys the atmosphere of the former metropolis Vienna in a unique manner and highlights the sense of departure characterized by contrasts prevalent at the turn of the century. The presentation spans three floors and features some 1,300 exhibits over more than 3,000 m2 of exhibition space, presenting a singular variety of media ranging from painting, graphic art, sculpture and photography, via glass, ceramics, metals, GUSTAV KLIMT textiles, leather and jewelry, all the way to items of furniture and entire furnishings of apart- Death and Life, 1910/11, reworked in 1915/16 ments. The exhibition, whose thematic emphases are complemented by a great number of Leopold Museum, Vienna archival materials, spans the period of around 1870 to 1930. Photo: Leopold Museum, Vienna/ Manfred Thumberger UPHEAVAL AND DEPARTURE IN VIBRANT FIN-DE-SIÈCLE VIENNA At the turn of the century, Vienna was the breeding ground for an unprecedentedly fruitful intellectual life in the areas of arts and sciences.
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Hermesvilla E Hermesvilla
H S I L G N HERMESVILLA E HERMESVILLA But now open up the trees, 1130 Vienna, Lainzer Tiergarten (Lainz Game Reserve), Tel.: (+43-1) 804 13 24 Curving semicircular round; How to get there: Underground line U4 to Hietzing station, trams 60 or 62 to Hermesstrasse, Moonlight-frosted, on the ground bus 60B from there to the main gate (Lainzer Tor) Gleams Titania's castle of dreams. Opening hours: From Palm Sunday to 1 November: Tuesday to Sunday and public holidays, 10 a.m. to 6 p.m. Elisabeth on her arrival Please note that the Hermes Villa closes 30 minutes before closure of the Game at Hermes Villa, 16 May 1887 Reserve Gates. Opening times are shorter in the fall. For up-to-date information visit www.wienmuseum.at. Admission: General Admission EUR 7 Discounted Rate EUR 5 Visitors under 19 years of age FREE ENTRY First Sunday of every month (all visitors) FREE ENTRY Guided tours: Sundays and public holidays, 3 p.m. Visitor information: Tel.: (+43-1) 505 87 47-85173, [email protected] Registration for special tours: Tel.: (+43-1) 505 87 47-85180, Monday to Friday, 9 a.m. to 2 p.m., [email protected] Illustrations: Hertha Hurnaus/Wien Museum All information contained herein is subject to change without notice. MAIN SPONSOR OF THE WIEN MUSEUM WWW.WIENMUSEUM.AT SISI’S PALACE OF DREAMS Empress Elisabeth with her dog Houseguard, 1865, photo: Emil Rabending “Sisi's Sanctuary in the Vienna Woods” The Hermes Villa in the Lainz Game Reserve is the Wien Museum's largest branch location and a place of remem - brance which more than any other brings to mind the romantic figure of Empress Elisabeth of Austria.
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Hermesvilla Hermesvilla
HERMESVILLA HERMESVILLA But now open up the trees, 1130 Vienna, Lainzer Tiergarten (Lainz Game Reserve), Tel.: (+43-1) 804 13 24 Curving semicircular round; How to get there: Underground line U4 to Hietzing station, trams 60 or 62 to Hermesstrasse, Moonlight-frosted, on the ground bus 60B from there to the main gate (Lainzer Tor) Opening hours: Gleams Titania's castle of dreams. From Palm Sunday to 1 November: Tuesday to Sunday and public holidays, 10 a.m. to 6 p.m. The Hermes Villa closes 30 minutes before closure of the Game Reserve gates, Elisabeth on her arrival at 6 p.m. at the latest. Please note that opening times are shorter in the autumn. at Hermes Villa, 16 May 1887 For updated information, visit www.wienmuseum.at Admission: Adults € 6, – Senior citizens, Vienna Card and Ö1 Club Card holders, disabled persons, students up to 27 years of age, apprentices and trainees, military and civil social services, groups of ten or more persons € 4, – Visitors under age 19 Free admission Every first Sunday of the month Free admission Guided tour ticket for adults € 3, – Guided tour ticket for pupils and students (min. € 15, i.e. a group of ten) € 1,50 Guided tour group rate for adults on request (a minimum group size of 20 is recommended) Guided tours: Sundays and public holidays, 3 p.m. Visitor information: Tel.: (+43-1) 505 87 47-85173, [email protected] Registration for special tours: Tel.: (+43-1) 505 87 47-85180, [email protected] Monday to Friday, 9 a.m. to 2 p.m.
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KOLOMAN MOSER Ø KOLOMAN DESIGNING MODERN VIENNA Ø MOSER 1897–1907 Edited by Christian Witt-Dörring
5294-NG_MOSER_jacket_offset 19.03.13 13:47 Seite 1 MOSER KOLOMAN KOLOMAN MOSER ø KOLOMAN DESIGNING MODERN VIENNA ø MOSER 1897–1907 Edited by Christian Witt-Dörring With preface by Ronald S. Lauder, foreword by Renée Price, and contributions by Rainald Franz, Ernst Ploil, Elisabeth Schmuttermeier, Janis Staggs, Angela Völker, and Christian Witt-Dörring FRONT COVER: This catalogue accompanies an (TOP ROW) Armchair, ca. 1903, Neue Galerie DESIGNING New York; Easter egg, 1905, A.P. Collection, MODERN VIENNA exhibition at the Neue Galerie London; (MIDDLE ROW) Vase, 1905, New York and the Museum of A.P. Collection, London; Jewelry box, 1907, 1897–1907 Fine Arts, Houston, devoted to Private Collection; (BOTTOM ROW) Vase, 1903, Ernst Ploil, Vienna; Bread basket, 1910, Austrian artist and designer Asenbaum, London Koloman Moser (1868–1918). It BACK COVER: is the first museum retrospec- (TOP ROW) Centerpiece with handle, 1904, tive in the United States focused Private Collection; Coffer given by Gustav on Moser’s decorative arts. The Mahler to Alma Mahler, 1902, Private Collection; (MIDDLE ROW) Two napkin rings, exhibition is organized by Dr. 1904, Private Collection; Table, 1904, Private Christian Witt-Dörring, the Neue Collection; (BOTTOM ROW) Mustard pot, 1905, Private Collection; Display case for the Galerie Curator of Decorative Arts. Schwestern Flöge (Flöge Sisters) fashion salon, 1904, Private Collection The exhibition and catalogue survey the entirety of Moser’s decorative arts career. They ex- amine his early work as a graphic designer and his involvement with the Vienna Secession, with spe- cial focus given to his role as an PRESTEL PRESTEL artist for the journal Ver Sacrum (Sacred Spring).
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Jane Van Nimmen
Jane Van Nimmen Klimt Year in Vienna, Part One Nineteenth-Century Art Worldwide 11, no. 3 (Autumn 2012) Citation: Jane Van Nimmen, “Klimt Year in Vienna, Part One,” Nineteenth-Century Art Worldwide 11, no. 3 (Autumn 2012), http://www.19thc-artworldwide.org/autumn12/van- nimmen-reviews-klimt-year-in-vienna-part-one. Published by: Association of Historians of Nineteenth-Century Art. Notes: This PDF is provided for reference purposes only and may not contain all the functionality or features of the original, online publication. Nimmen: Klimt Year in Vienna, Part One Nineteenth-Century Art Worldwide 11, no. 3 (Autumn 2012) Klimt Year in Vienna: Part One Half a century ago, the centennial for Gustav Klimt (1862–1918) inspired three exhibitions in Vienna, each with a checklist or modest catalogue. The shows opened on consecutive days in mid-October 1962 and ran for five to eight weeks. Director Fritz Novotny of the Österreichische Galerie (now the Belvedere) displayed nineteen Klimt paintings from its holdings, as well as ten loans from private collectors. The Graphische Sammlung Albertina (now the Albertina) exhibited nearly 250 drawings selected by curator Alice Strobl from public and private collections, including 34 works owned by Rudolf Leopold (founder of the Leopold Museum in 2001). At Christian M. Nebehay’s gallery in the Annagasse (now an antiquarian bookstore still operating under his name), the art dealer and publisher mounted a show of another 150 “significant” Klimt drawings. Nebehay also lent seven works on paper to the Albertina exhibition and published the most substantial of the centennial catalogues (fig. 1).
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Klimt and the Ringstrasse a Showcase of Grandeur
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Alegorijske Slike Gustava Klimta U Riječkom Kazalištu
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Klimt Year in Vienna, Part Two
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Radovi Instituta Za Povijest Umjetnosti 37 Rad
Radovi Instituta za povijest umjetnosti 37 Rad. Inst. povij. umjet. 37/2013. (159–166) Irena Kraševac: Alegorijske slike Franza Matscha u riječkom kazalištu Irena Kraševac Institut za povijest umjetnosti, Zagreb Alegorijske slike Franza Matscha u riječkom kazalištu Izvorni znanstveni rad − Original scientific paper Predan 30. 9. 2013. − Prihvaćen 15. 11. 2013. UDK: 75 Matsch, F. 75.045/.046(497.5 Rijeka) Sažetak U članku je riječ o austrijskom slikaru Franzu Matschu (1861.–1942.) se stilski, ikonografski i komparativno s Klimtovim djelima u istom koji je zajedno s danas puno poznatijim Gustavom Klimtom radio na prostoru. Franz Matsch je za hrvatsku povijest umjetnosti zanimljiv kao dekorativnom opremanju kazališta u Rijeci. Prema projektu kazališne profesor Robertu Aueru na bečkoj Školi umjetničkog obrta, a članak se zgrade arhitekata Ferdinanda Fellnera i Hermana Helmera, svaki je osvrće i na njegove grafičke predloške iz mape Allegorien und Embleme slikar izradio tri medaljona na svodu gledališta s alegorijskim prikazima koja se čuva u Muzeju za umjetnost i obrt. kazališne i glazbene umjetnosti. Matschove alegorijske slike analiziraju Ključne riječi: slikarstvo, Franz Matsch, Künstler-Compagnie, Fellner i Helmer, kazalište, Rijeka, historicizam, alegorija Nastavljajući dosadašnja istraživanja vezana uz alegorijske učitelja, zahvaljujući preporuci Rudolfa Eitelbergera ostaju na prikaze glazbene i kazališne umjetnosti u riječkom kazalištu, daljnjem usavršavanju u slikarskoj klasi Ferdinanda Juliusa objavljena u prethodim Radovima Instituta za povijest um- Laufbergera, potom kod Juliusa Bergera i već u toj ranoj fazi jetnosti koja su obuhvatila djela znamenitog Gustava Klimta,1 sudjeluju na velikim projektima dekoracije Votivne crkve, ovaj se rad bavi slikama manje poznatog austrijskog slikara Hermesove vile i Povijesno-umjetničkog muzeja,7 što mogu Franza Matscha u istom prostoru.
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SEPTEMBER 2, 2018 STAIRWAY to KLIMT EYE to EYE with GUSTAV KLIMT to Commemorate the Centenary of the Death Of
FEBRUARY 13 - STAIRWAY TO KLIMT SEPTEMBER 2, 2018 EYE TO EYE WITH GUSTAV KLIMT To commemorate the centenary of the death of Gustav Klimt (1862-1918), visitors to the Kunsthistorisches Museum Vienna are invited to enjoy a close-up view of some of the master’s unique early works installed above the columns and arcades of the Main Staircase. As we did in 2012, we have again built a bridge spanning the Main Staircase almost 12 metres above the ground so that this important cycle can be viewed in situ. In 1890/91, twenty-eight-year-old Gustav Klimt was commissioned to produce wall paintings to decorate the areas between the arcades and the double-columns on the north wall of the large Main Staircase. The committee in charge of building and decorating the new home of the imperial art collections awarded the contract for the forty-part cycle to decorate all four walls to the Künstler-Compagnie (Artists’ Company), which comprised Gustav Klimt, his younger brother Ernst and their friend Franz Matsch. The cycle depicts the history of art from Ancient Egypt until the nineteenth century. Personifications – male and/or female – symbolize different artistic styles, epochs, regions and centres. Each figure’s pose, attire and props reflect style, production and handling of the depicted period. Gustav Klimt was responsible for a total of thirteen paintings. He executed these oil on canvas paintings in the Künstler-Compagnie’s studio, and in 1891, six months before the museum was opened to the public, they were glued to the wall. This magnificent cycle is in excellent condition and has never been restored.
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