DOCSLIB.ORG

Gustav Klimt (1862-1918) Gustav Klimt's Work Is Highly Recognizable

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Gustav Klimt (1862-1918) Gustav Klimt's Work Is Highly Recognizable Gustav Klimt (1862-1918) Gustav Klimt’s work is highly recognizable around the world. He has a reputation as being one of the foremost painters of his time. He is regarded as one the leaders in the Viennese Secessionist movement. During his lifetime and up until the mid-twentieth century, Klimt’s work was not known outside the European art world. Gustav Klimt was born on July 14, 1862 in Baumgarten, near Vienna. He was the second child of seven born to a Bohemian engraver of gold and silver. His father’s profession must have rubbed off on his children. Klimt’s brother Georg became a goldsmith, his brother Ernst joined Gustav as a painter. At the age of 14, Klimt went to the School of Arts and Crafts at the Royal and Imperial Austrian Museum for Art and Industry in Vienna along with his brother. Klimt’s training was in applied art techniques like fresco painting, mosaics and the history of art and design. He did not have any formal painting training. Klimt, his brother Ernst and friend Franz Matsch earned a living creating architectural decorations on commission. They worked on villas and theaters and made money on the side by painting portraits. Klimt’s major break came when the trio helped their teacher paint murals in Kunsthistorische Museum in Vienna. His work helped him begin gain the job of painting interior murals and ceilings in large public buildings on the Ringstraße, including a successful series of "Allegories and Emblems". His work on murals in the Burgtheater in Vienna earned him in 1888 a Golden order of Merit by Franz Josef I of Austria and he became an honorary member of the University of Munich and the University of Vienna. In 1892 Klimt’s brother Ernst and his father died so Gustav took over the financial responsibilities for his family. It was also during this time he met Emilie Louise Floge, his good friend, and possibly the model for The Kiss. Gustav Klimt was one of the founding members of the Secessionist Art Movement in Vienna and the organization’s president in 1897. The Secessionist movement’s goals 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. The group did not encourage a particular style and included all styles. The group revolted against the traditional, academic art The Viennese government supported their efforts and gave the Secessionists an exhibition hall. The group's symbol was Pallas Athena, the Greek goddess of just causes, wisdom, and the arts, and Klimt painted his version in 1898. In 1898 Klimt was commissioned to paint 3 paintings for the Great Hall at the University of Vienna called Philosophy, Medicine and Jurisprudence. In 1902 Klimt painted the piece called Beethoven Frieze. This piece was painted on the walls of the basement in the Secessionist building for the Fourteenth Secessionist exhibition which featured Beethoven as its theme. He painted the face of Beethoven to look like Vienna Court Opera director Gustav Mahler with whom Klimt had a respectful relationship. During this period Klimt did not just paint for public commissions. Beginning in the late 1890s, he would take annual summer vacations with the Floge family on the shores of the Attersee and painted landscapes there. These landscapes were painted by Klimt to make them appear flattened in a single plane and it is thought that Klimt painted them while looking through a telescope. Klimt’s Golden Phase marked both his financial and critical success. In the pieces from this period Klimt incorporated a significant amount of gold leaf. Klimt traveled little in his life but he did visit Venice and Ravenna, Italy during this time period. Both towns were famous for their gold leafed Byzantinne mosaics. These trips probably were the inspiration for his golden artistic period. The Kiss (1907- 08) and The Portrait of Adele Bloch-Bauer I (1907) were both painted in the period. Klimt lived a simple life devoted to his art, his family and the Secessionist movement. He wore long flowing robes and sandals. He avoided the café society and didn’t spend much time with other artists. His fame brought him many potential clients but Klimt could be selective on the projects he took. His painting method was very deliberate and painstaking and could require lengthy sittings by his subjects. In 1911 his paining Death and Life received first prize in the world exhibitions in Rome. In 1915 his mother Anna died. In 1918 Klimt died in Vienna on Feb 6th having suffered a stroke and having pnemonia due to the flu epidemic of that year. He was buried at the Hietzinger Cemetery in Hietzing, Vienna. Klimt left many paintings unfinished. 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, but that sale was soon eclipsed by prices paid for other Klimts. 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 May 5, 2004 for $104 million), as the highest reported price ever paid for a painting. Viennese Jugendstil or Viennese Art Nouveau: Art Nouveau was a movement that swept through the decorative arts and architecture in the late 19th and early 20th centuries. Generating enthusiasts throughout Europe and beyond, the movement issued in a wide variety of styles, and, consequently, it is known by various names, such as the Glasgow Style, or, in the German-speaking world, Jugendstil. Art Nouveau was aimed at modernizing design, seeking to escape the eclectic historical styles that had previously been popular. Artists drew inspiration from both organic and geometric forms, evolving elegant designs that united flowing, natural forms with more angular contours. The movement was committed to abolishing the traditional hierarchy of the arts, which viewed so-called liberal arts, such as painting and sculpture, as superior to craft-based decorative arts, and ultimately it had far more influence on the latter. The style went out of fashion after it gave way to Art Deco in the 1920s, but it experienced a popular revival in the 1960s, and it is now seen as an important predecessor The Kiss 1907- 8 72”X72” Austrian Gallery Vienna, Austria The Kiss is Klimt’s most popular work. This piece is widely considered a masterpiece of the early modern period. It is a symbol of Vienna Jugendstil— Viennese Art Nouveau—and is considered Klimt's most popular work. This was the height of Klimt’s ‘Golden Period’. This piece captures the spirit of fin-de-siecle (or end of the century) with its decadence and opulence. The Kiss is 72x72 inches, a square. The painting is made of oil paint and layers of gold leaf. The figures in the painting are life size. The Kiss is Klimt’s response to the Byzantine mosaic in the Church of San Vitale at Ravenna, Italy in 1903 which affected him so significantly. Klimt liked the flatness of the mosaics and their lack of perspective which enhanced the golden brilliance of the pieces. Cupola of the choir: An Angel Offers a Model of The Church to Bishop Ecclesius, Basilica of San Vitale in Ravenna, Italy He painted a number of pieces in the gilded style. The use of gold gives the piece a medieval feel, the spiral patterns of the robe also recall the Bronze Age art with decorative curls seen since before classical times. The position of the head of the man near the top of the painting is seen in many Japanese prints so is the simple composition of the piece. This piece focuses on love between two people and how Iove envelops the universe. The figures are situated on the edge of a patch of a flowery meadow. The figures are embracing with the man holding the woman’s face kissing her cheek. The figures are wrapped in a golden blanket. The man’s coat features strong, black and grey rectangular blocks irregularly placed on gold leaf and decorated with spirals. This coat is influenced by the Art Nouveau style that focused on line and construction. The man wears a crown of vines. The woman’s dress features spinning circles of bright flower motifs and parallel wavy lines which are influenced by the organic forms of the Arts and Crafts movement. Her hair is sprinkled with flowers and it is pulled up on her head which forms a halo-like circle that highlights her face and is continued under her chin and looks like a necklace of flowers. From the coats, a golden rain blesses the earth. It is thought that Klimt and his friend Emilie Floge were the models for the work but there is no evidence to prove it. Discussion Questions for the class: What do you think the title is? What colors do you see? gold, black, blue, red, pink, green What time of day is it? How do you know? Nighttime, dark sky, stars Where are the people? How can you tell? On the edge of a meadow, green grass, flowers Is there a lot of background or a little? A little. Why do you think the artist had little background? To show the importance of the people What shapes do you see? Rectangles, circles, swirls, curves, flowers Are the clothes the people are wearing similar to everyday clothes? No the man is wearing a robe, woman has a fancy dress, old fashioned- knights, medieval feel The clothing has lots of detail.
Load more

Recommended publications
  • Gustav Klimt: the Magic of Line
    Page 1 OBJECT LIST Gustav Klimt: The Magic of Line At the J. Paul Getty Museum, Getty Center July 3–September 23, 2012 All works by Gustav Klimt (Austrian, 1862–1918) unless otherwise specified 1. The Auditorium of the Old 4. Man in Three Quarter View (Study for Burgtheater, 1888-89 and 1893 Shakespeare's Theater), 1886-87 Watercolor and gouache Black chalk, heightened with white Unframed: 22 x 28 cm (8 11/16 x 11 in.) Unframed: 42.5 x 29.4 cm (16 3/4 x 11 Privatsammlung Panzenböck 9/16 in.) EX.2012.3.19 Albertina, Wien EX.2012.3.27 2. Profile and Rear View of a Man with Binoculars, Sketch of His Right Hand, 5. Head of a Reclining Young Man, Head 1888-89 in Lost Profile (Study for Black chalk, heightened with white, Shakespeare's Theater), 1887 87 on greenish paper Black chalk, heightened with white, Unframed: 45 x 31.7 cm (17 11/16 x 12 graphite 1/2 in.) Unframed: 44.8 x 31.4 cm (17 5/8 x 12 Albertina, Wien 3/8 in.) EX.2012.3.29 Albertina, Wien EX.2012.3.33 3. Man with Cap in Profile (Study for Shakespeare's Theater), 1886-87 6. Reclining Girl (Juliet), and Two Studies Black chalk heightened with white of Hands (Study for Shakespeare's Unframed: 42.6 x 29 cm (16 3/4 x 11 Theater), 1886-87 7/16 in.) Black chalk, stumped, heightened Albertina, Wien with white, graphite EX.2012.3.28 Unframed: 27.6 x 42.4 cm (10 7/8 x 16 11/16 in.) Albertina, Wien EX.2012.3.32 -more- -more- Page 2 7.
    [Show full text]
  • Japanese Aesthetics and Gustav Klimt: in Pursuit of a New Voice Svitlana Shiells
    Strand 2. Art Nouveau and Politics in the Dawn of Globalisation Japanese Aesthetics and Gustav Klimt: In Pursuit of a New Voice Svitlana Shiells Abstract At the end of the nineteenth century, Japonisme—an artistic lingua franca—became one of the most organic, overarching components of Gustav Klimt’s new art. This paper draws parallels between Gustav Klimt’s Portrait of Sonja Knips and It ō Jakuch ū’s print Golden Pheasant and Bamboo in Snow . The discovery of an unexpectedly close dialogue between Klimt and Jakuch ū and the striking similarity of the formal language of the two works supports the paper’s thesis that It ō Jakuch ū’s print is the primary source of influence behind the conception and execution of the portrait and, by extension, that Klimt’s engagement with Japanese stimuli is one of the main engines behind his creative pursuit, starting at the end of the 1890s. This discovery challenges preconceived notions and existing concepts and illustrates the impossibility of understanding Klimt’s heritage comprehensively and adequately without examining the role of Japonisme in it. Keywords: Gustav Klimt, Japonisme, It ō Jakuch ū, the Vienna Secession, ukiyo-e prints. 1 In the wake of the World Fair of 1873 in Vienna, a strong wave of Japonisme permanently re- shaped the capital of the Austro-Hungarian Empire. According to Hermann Bahr, the Viennese encountered the presence of “Japonisme in all the arts,” which were “impossible to understand without bearing in mind the influence of Japanese art.” 1 Japonisme indeed became a Zeitgeist in fin de siècle Vienna and, in the visual arts, Gustav Klimt was its main advocate.
    [Show full text]
  • African Masks
    Gustav Klimt Slide Script Pre-slides: Focus slide; “And now, it’s time for Art Lit” Slide 1: Words We Will Use Today Mosaics: Mosaics use many tiny pieces of colored glass, shiny stones, gold, and silver to make intricate images and patterns. Art Nouveau: this means New Art - a style of decorative art, architecture, and design popular in Western Europe and the US from about 1890 to 1910. It’s recognized by flowing lines and curves. Patrons: Patrons are men and women who support the arts by purchasing art, commissioning art, or by sponsoring or providing a salary to an artist so they can continue making art. Slide 2 – Gustav Klimt Gustav Klimt was a master of eye popping pattern and metallic color. Art Nouveau (noo-vo) artists like Klimt used bright colors and swirling, flowing lines and believed art could symbolize something beyond what appeared on the canvas. When asked why he never painted a self-portrait, Klimt said, “There is nothing special about me. Whoever wants to know something about me... ought to look carefully at my pictures.” We may not have a self-portrait but we do have photos of him – including this one with his studio cat! Let’s see what we can learn about Klimt today. Slide 3 – Public Art Klimt was born in Vienna, Austria where he lived his whole life. Klimt’s father was a gold engraver and he taught his son how to work with gold. Klimt won a full scholarship to art school at the age of 14 and when he finished, he and his brothers started a business painting murals on walls and ceilings for mansions, public theatres and universities.
    [Show full text]
  • Download Download
    Dreams anD sexuality A Psychoanalytical Reading of Klimt’s Beethoven Frieze benjamin flyThe This essay presenTs a philosophical and psychoanalyTical inTerpreTaTion of The work of The Viennese secession arTisT, GusTaV klimT. The manner of depicTion in klimT’s painTinGs underwenT a radical shifT around The Turn of The TwenTieTh cenTury, and The auThor attempTs To unVeil The inTernal and exTernal moTiVaTions ThaT may haVe prompTed and conTribuTed To This TransformaTion. drawinG from friedrich nieTzsche’s The BirTh of Tragedy as well as siGmund freud’s The inTerpreTaTion of dreams, The arTicle links klimT’s early work wiTh whaT may be referred To as The apollonian or consciousness, and his laTer work wiTh The dionysian or The subconscious. iT is Then arGued ThaT The BeeThoven frieze of 1902 could be undersTood as a “self-porTraiT” of The arTisT and used To examine The shifT in sTylisTic represenTaTion in klimT’s oeuVre. Proud Athena, armed and ready for battle with her aegis Pallas Athena (below), standing in stark contrast to both of and spear, cuts a striking image for the poster announcing these previous versions, takes their best characteristics the inaugural exhibition of the Vienna Secession. As the and bridges the gap between them: she is softly modeled goddess of wisdom, the polis, and the arts, she is a decid- but still retains some of the poster’s two-dimensionality (“a edly appropriate figurehead for an upstart group of diverse concept, not a concrete realization”2); the light in her eyes artists who succeeded in fighting back against the estab- speaks to an internal fire that more accurately represents lished institution of Vienna, a political coup if there ever the truth of the goddess; and perhaps most importantly, 28 was one.
    [Show full text]
  • Florida State University Libraries
    Florida State University Libraries Electronic Theses, Treatises and Dissertations The Graduate School 2009 Gustav Mahler, Alfred Roller, and the Wagnerian Gesamtkunstwerk: Tristan and Affinities Between the Arts at the Vienna Court Opera Stephen Carlton Thursby Follow this and additional works at the FSU Digital Library. For more information, please contact [email protected] FLORIDA STATE UNIVERSITY COLLEGE OF MUSIC GUSTAV MAHLER, ALFRED ROLLER, AND THE WAGNERIAN GESAMTKUNSTWERK: TRISTAN AND AFFINITIES BETWEEN THE ARTS AT THE VIENNA COURT OPERA By STEPHEN CARLTON THURSBY A Dissertation submitted to the College of Music in partial fulfillment of the requirements for the degree of Doctor of Philosophy Degree Awarded: Spring Semester, 2009 The members of the Committee approve the Dissertation of Stephen Carlton Thursby defended on April 3, 2009. _______________________________ Denise Von Glahn Professor Directing Dissertation _______________________________ Lauren Weingarden Outside Committee Member _______________________________ Douglass Seaton Committee Member Approved: ___________________________________ Douglass Seaton, Chair, Musicology ___________________________________ Don Gibson, Dean, College of Music The Graduate School has verified and approved the above named committee members. ii To my wonderful wife Joanna, for whose patience and love I am eternally grateful. In memory of my grandfather, James C. Thursby (1926-2008). iii ACKNOWLEDGEMENTS The completion of this dissertation would not have been possible without the generous assistance and support of numerous people. My thanks go to the staff of the Austrian Theater Museum and Austrian National Library-Music Division, especially to Dr. Vana Greisenegger, curator of the visual materials in the Alfred Roller Archive of the Austrian Theater Museum. I would also like to thank the musicology faculty of the Florida State University College of Music for awarding me the Curtis Mayes Scholar Award, which funded my dissertation research in Vienna over two consecutive summers (2007- 2008).
    [Show full text]
  • LESSON Gustav Klimt Elements Of
    LESSON 1 Gustav Klimt Elements of Art Tree of Life Verbal Directions LESSON GUSTAV KLIMT/ELEMENTS OF ART 1 KIMBALL ART CENTER & PARK CITY ED. FOUNDATION LESSON OVERVIEW Students will learn about the artist Gustav Klimt (1862–1918) and his SUPPLIES • Images of Klimt’s artwork decorative art style. Klimt was a twentieth century master of decorative showcasing elements of art. art, a visual art style known for hosting design and ornamentation of • Samples of Tree of Life. items. Students will also learn about the elements of art and how they are • Gold glitter. portrayed in Klimt’s artwork. Students will use these elements with verbal • Glue. directives to create their own “Tree of Life”, one of Klimt’s most famous • Black sharpies. works, in his decorative style. • Markers. • Metallic markers and/or INSTRUCTIONAL OBJECTIVES paint markers. • Learn about Gustav Klimt. • White or brown paper. • Learn about the elements of art and apply them in artwork. • Black construction paper for Line, Shape, Form, Value, Space, Color, Texture matting artwork. • Learn about Klimt’s decorative style of art. • Create a “Tree of Life” using elements of art in the style of Klimt. GUSTAV KLIMT Gustav Klimt (1862-1918) was an Austrian symbolist painter and his artwork was viewed as a rebellion against the traditional academic art of his time. He is noted for his highly decorative style in art most often seen in art with women with elaborate gowns, blankets and landscapes. Klimt was a co-founder of the Vienna Secessionist movement, a movement closely linked to Symbolism whereby artists tried to show truth using unrealistic or fantastical objects.
    [Show full text]
  • SYMBOLISM of the SERPENT in KLIMT's DRAWINGS Antonela
    SECTION: LANGUAGE AND DISCOURSE LDMD 2 SYMBOLISM OF THE SERPENT IN KLIMT’S DRAWINGS Antonela Corban, PhD. “Al. I. Cuza” University of Iaşi and University of Burgundy, Dijon Abstract. The theme of the serpent repeats and undergoes constant reinterpretation in many of Klimt’s paintings, the author often considering the significance conferred to it by tradition, yet adding personal elements as well in its pictorial approach. The purpose of this article is to indicate and analyze the very paintings in which Klimt treats the theme of the snake from the perspective of its potential significations. To start with, we shall focus on the analysis of the signification of the snake/ serpent symbol in various cultural and religious areas and we shall insist on the ambivalent character of this symbol (the serpent could be associated with both life and death, being a creature that triggers both fear and fascination). Out of the many interpretations associated with the symbolic myth of the serpent, we shall choose only those related to Klimt’s work, noticing that the artist copes, each and every time, with a different signification of it. A first meaning the painter considers is that of creative wisdom, based on intelligence, knowledge and power – Asclepius’s serpent (in Medicine and Hygeia) or Athens’ serpent (Pallas Athene). On the other hand, it may represent the poisonous intelligence associated with cunning and envy, as in Jurisprudence, in Envy or his late, unfinished work, Adam and Eve. It could be about the complex embodiment of natural forces (benevolent, as the dragon from Tragedy, or hostile, as the Echidna – like monster, together with Typhon, the winged one, in Beethoven Frieze).
    [Show full text]
  • Artist Resources – Gustav Klimt (Austrian, 1862-1918) Gustav Klimt Foundation Klimt at Neue Galerie, New York
    Artist Resources – Gustav Klimt (Austrian, 1862-1918) Gustav Klimt Foundation Klimt at Neue Galerie, New York The Getty Center partnered with Vienna’s Albertina Museum in 2012 for the first retrospective dedicated to Klimt’s prolific drawing practice. Marking the 150th anniversary of his birth, the prominent collection traced Klimt’s use of the figure from the 1880s until his death. Digital resources from the Getty provide background on Klimt’s relationships to Symbolism and the Secession movement, his public murals, drawings, and late portraits. In 2015, the Neue Galerie commemorated the film, Woman in Gold, with an exhibition bringing together Klimt’s infamous portrait of Adele Bloch Bauer with a suite of historical material. Bauer’s portrait was at the nexus of a conversation about the return of Nazi looted art, now in prestigious museums, to the progeny of families they were stolen from during WWII. San Francisco’s de Young museum presented the first major exhibition of Klimt’s work on the west coast in 207, paiting the Vienna Secessionist with sculptures and works on paper by August Rodin, whom Klimt met in 1902. The Leopold museum celebrated the centennial of Klimt’s death and his contribution to Viennese modernism in a comprehensive survey in 2018. Also in 2018, the Museum of Fine Arts Boston and the Royal Academy of Art in London opened surveys exploring the creative influences of Klimt and his young mentee Egon Schiele through the medium of drawing. Klimt, 1917 In a series of talks in Boston in conjunction with the exhibition, Professor Judith Bookbinder spoke about the aesthetic differences of Klimt, Schiele, and Schiele’s contemporary Oskar Kokoschka.
    [Show full text]
  • The Restitution of a Gustav Klimt Masterpiece
    A living memorial to the Holocaust, the United States Holocaust Memorial Museum inspires citizens and leaders worldwide to confront hatred, prevent genocide, and promote human dignity. Federal support guarantees the Museum’s permanent place on the National Mall, and its far-reaching educational programs and global impact are made possible by generous donors. Cover: Litzlberg am Attersee, Gustav Klimt, ca. 1914–15. Oil on canvas. From Robbery to Rescue: The Restitution of a Gustav Klimt Masterpiece Northeast Regional Office 60 E. 42nd Street, Suite 2540 New York, NY 10165-0018 ushmm.org Judie and Howard Ganek and Betsy and Doug Korn cordially invite you to a special presentation on behalf of the United States Holocaust Memorial Museum From Robbery to Rescue: The Restitution of a Gustav Klimt Masterpiece Join us as Lucian Simmons, Senior Vice President of Sotheby’s and head of its worldwide restitution team, reveals the Featured Speaker Lucian Simmons extraordinary story behind a Gustav Klimt masterpiece Senior Vice President seized by the Nazis and only recently returned to its Provenance and Restitution rightful owner. Sotheby’s Under Nazi occupation, the precious possessions of Jewish families became commodities of the Third Reich. Among these stolen treasures were masterpieces of modern art like Wednesday, October 26 Litzlberg am Attersee, a Klimt landscape now valued at more 6–8 p.m. than $25 million. Acquired by Amalie Redlich from her brother and his wife, the painting was confiscated by the Sotheby’s Gestapo from Amalie’s home near Vienna, Austria, and sold 1334 York Avenue, between 71st and 72nd Streets after she was deported in 1941 to the Lodz ghetto, where New York City she disappeared forever.
    [Show full text]
  • Suspect List in Stolen Klimt Saga Grows
    AiA News-Service NEWS ART CRIME Suspect list in stolen Klimt saga grows A woman connected to the museum where the painting was found is under investigation by the Italian police GARETH HARRIS 19th February 2020 12:23 GMT MORE Gustav Klimt's Portrait of a Lady (1916-17) was stolen from the Ricci Oddi Gallery of Modern Art in 1997 The saga of the stolen Gustav Klimt painting discovered within the walls of an Italian museum has taken a new turn after the widow of the institution's former director was taken in for questioning by police. Rossella Tiadina, the widow of Stefano Fugazza, the former director of Ricci Oddi Gallery of Modern Art in the northern Italian city of Piacenza, remains under investigation by the Piacenza police in relation to the robbery, according to a source close to the gallery. No charges have yet been brought but Piacenza police have confirmed Tiadina is under investigation. The work in question Portrait of a Lady (1916-17), which was taken on 22 February 1997 from the gallery, was found by a gardener last December, after they removed a metal plate on an exterior wall of the gallery. The painting was found concealed in a bag buried within a cavity. In early January, officials at the gallery announced that the work has been authenticated and is a genuine work by Klimt valued at €60m. The Ricci Oddi Gallery of Modern Art in Piacenza, Italy The investigation was prompted by an entry in Fugazza’s diary which was first reported by the BBC in 2016.
    [Show full text]
  • Title Japonisme in Polish Pictorial Arts (1885 – 1939) Type Thesis URL
    Title Japonisme in Polish Pictorial Arts (1885 – 1939) Type Thesis URL http://ualresearchonline.arts.ac.uk/6205/ Date 2013 Citation Spławski, Piotr (2013) Japonisme in Polish Pictorial Arts (1885 – 1939). PhD thesis, University of the Arts London. Creators Spławski, Piotr Usage Guidelines Please refer to usage guidelines at http://ualresearchonline.arts.ac.uk/policies.html or alternatively contact [email protected]. License: Creative Commons Attribution Non-commercial No Derivatives Unless otherwise stated, copyright owned by the author Japonisme in Polish Pictorial Arts (1885 – 1939) Piotr Spławski Submitted as a partial requirement for the degree of doctor of philosophy awarded by the University of the Arts London Research Centre for Transnational Art, Identity and Nation (TrAIN) Chelsea College of Art and Design University of the Arts London July 2013 Volume 1 – Thesis 1 Abstract This thesis chronicles the development of Polish Japonisme between 1885 and 1939. It focuses mainly on painting and graphic arts, and selected aspects of photography, design and architecture. Appropriation from Japanese sources triggered the articulation of new visual and conceptual languages which helped forge new art and art educational paradigms that would define the modern age. Starting with Polish fin-de-siècle Japonisme, it examines the role of Western European artistic centres, mainly Paris, in the initial dissemination of Japonisme in Poland, and considers the exceptional case of Julian Żałat, who had first-hand experience of Japan. The second phase of Polish Japonisme (1901-1918) was nourished on local, mostly Cracovian, infrastructure put in place by the ‘godfather’ of Polish Japonisme Żeliks Manggha Jasieski. His pro-Japonisme agency is discussed at length.
    [Show full text]
  • Rosalind Nashashibi DEEP REDDER June 27 – September 1, 2019
    Press information Rosalind Nashashibi DEEP REDDER June 27 – September 1, 2019 Press conference: Wednesday, June 26, 2019, 11 a.m. Opening: Wednesday, June 26, 2019, 7 p.m. In her exhibition DEEP REDDER, Rosalind Nashashibi presents paintings and a new film in two parts, the fruit of a sustained, process-based, and ongoing meditation on social norms of family life. Both segments of the film are inspired by Ursula Le Guin’s novella The Shobies’ Story (1990): Set in the science fiction and fantasy writer’s sprawling fictional universe, the plot revolves around the experiences of a multigenerational group testing a novel form of space travel based on nonlinear time. The story acts as a lens through which the film, featuring Nashashibi herself, her children, and close friends, reflects on how a group’s sense of community is built and then fractured when their movement is non-sequential and beyond their understanding. Appearing in the role of the film’s narrator, Nashashibi intertwines the filmic action with the literary source to raise philosophical and psychological questions concerning interpersonal relationships. Besides Le Guin’s novella, the artist drew on a second literary source: the I Ching, which she consulted before she started shooting, using the response of the Chinese divination manual and book of wisdom to shape the making of the film. Nashashibi’s paintings in the exhibition are even more direct equivalents of her own experiences of being in the world, of standing in two states, with feet and ankles in water and legs dry, of a lamb craning its neck upwards, or a calf with its face hidden from our view and yet lit by moonlight.
    [Show full text]