But it was the personal tragedy of the following year that would have the most significant influence on the course of Klimt’s art, when both his father and brother Ernst died. This first meeting marked the beginning of what would be a lifelong friendship and one that would have a meaningful impact on the direction of Klimt’s later work. In 1891, Gustav’s brother Ernst married a woman named Helene Flöge, and that same year, Gustav painted a portrait of her sister, Emilie for the first time. But although Gustav Klimt continued to align himself with the more traditional factions of the art world, he was soon to experience changes in his personal life that would send him off on a path all his own. In 1890, the Klimt brothers and Masch joined the Vienna Artists’ Association, a conservative art group that controlled the majority of the exhibitions in the city. The group was honored for their achievements in 1888 when they received the Golden Order of Merit from Austro-Hungarian Emperor Franz Josef I. Their most notable works during this time were the mural at the Vienna Burgtheater and the ceiling above the staircase at the Kunsthistorisches Museum. That decision proved to be a good one, as it not only won them numerous commissions to paint churches, theaters and other public spaces, but also allowed them to work interchangeably on their projects. Klimt’s horizons began to broaden, however, when his budding talent earned him various small commissions while he was still in school, and after his graduation in 1883, he opened a studio with his younger brother Ernst and their mutual friend Franz Masch.Ĭalling themselves the Company of Artists, the trio agreed to focus their work on murals and also to set aside any personal artistic inclinations in favor of the historical style popular among Vienna’s upper class and aristocracy at that time. His early ambition as an artist was to simply become a drawing teacher. While at the institution, Klimt received a conservative, classical training that he readily accepted, and he focused his studies on architectural painting. Perhaps genetically predisposed to the arts, then, Klimt displayed a notable talent from an early age, and at 14 years old left his normal school to attend the Vienna School of Arts and Crafts on a full scholarship, no small matter considering both his youth and the relative poverty in which he had been raised. His father, Ernst, was a struggling gold engraver who had immigrated to Vienna from Bohemia, and his mother, Anna, was musically talented, although she had never realized her dream of becoming a professional musician. Gustav Klimt was born on the outskirts of Vienna, Austria, on July 14, 1862. His most famous paintings are The Kiss and Portrait of Adele Bloch-Bauer. Synopsisīorn in 1862, Austrian painter Gustav Klimt became known for the highly decorative style and erotic nature of his works, which were seen as a rebellion against the traditional academic art of his time. Ver Sacrum reveals the tremendous originality of the Jugendstil language, a cornerstone of modernity that elaborated new forms of design, illustration and print/editorial composition.Nineteenth century Austrian painter Gustav Klimt is known for the highly decorative style of his works, his most famous being The Kiss. Writers such as Rainer Maria Rilke, Hugo von Hofmannsthal, Maurice Maeterlinck, Knut Hamsun, Otto Julius Bierbaum, Richard Dehmel, Ricarda Huch, Conrad Ferdinand Meyer and Arno Holz were published in its pages. During its six years of activity, 471 original drawings were made specifically for the magazine, along with 55 lithographs and copper engravings and 216 block prints, by artists such as Gustav Klimt, Egon Schiele, Koloman Moser, Otto Wagner, Max Fabiani, Joseph Maria Olbrich and Josef Hoffmann. Ver Sacrum (meaning "Sacred Spring" in Latin) was conceived by Gustav Klimt, Max Kurzweil and Ludwig Hevesi. Published for the 120th anniversary of this historic magazine, it reproduces all 120 regular issues―plus some special, limited-edition covers―in 1:1 scale, alongside a selection of block prints, lithographs and copper engravings. This book gathers the covers of Ver Sacrum, the official magazine of the Vienna Secession, which ran from 1898 to 1903.
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