Download Free Klimts Women Book in PDF and EPUB Free Download. You can read online Klimts Women and write the review.

Viennese artist Gustav Klimt (1862-1918) was known for his paintings of women--from classic portraits to erotic drawings. In this first survey of Klimt's approach to the female form, readers can view samples of his work and learn how fundamental changes in the social structure at the turn of the century raised women's status on ideological and cultural levels. 220 bandw, 133 color illustrations.
The enfant terrible of the Viennese art scene, Klimt was notorious for his portraits of beautiful women. Illustrated with color reproductions, this book profiles the women who figured in the artist's life and on his canvases. The author looks beyond the standard assumption that Klimt was a hardhearted philanderer, pointing instead to his committed and loving relationship with Emilie Flöge that prevailed despite the parade of beautiful women who wandered in and out of the artist's studio. Partsch demonstrates Klimt's role in the evolution of portrait painting, which helped usher in the age of Expressionism.
National Bestseller The true story that inspired the movie Woman in Gold starring Helen Mirren and Ryan Reynolds. Contributor to the Washington Post Anne-Marie O’Connor brilliantly regales us with the galvanizing story of Gustav Klimt’s 1907 masterpiece—the breathtaking portrait of a Viennese Jewish socialite, Adele Bloch-Bauer. The celebrated painting, stolen by Nazis during World War II, subsequently became the subject of a decade-long dispute between her heirs and the Austrian government. When the U.S. Supreme Court became involved in the case, its decision had profound ramifications in the art world. Expertly researched, masterfully told, The Lady in Gold is at once a stunning depiction of fin-de siècle Vienna, a riveting tale of Nazi war crimes, and a fascinating glimpse into the high-stakes workings of the contemporary art world. One of the Best Books of the Year: The Huffington Post, The Christian Science Monitor. Winner of the Marfield National Award for Arts Writing. Winner of a California Book Award.
A selection of Klimt's portraits of women is accompanied by an analysis of the Austrian artist's painting
This authoritative and generously illustrated book highlights Gustav Klimt’s portrayals of women in his work. Klimt was a central figure in Vienna at the turn of the twentieth century, and a crucial link between nineteenth-century Symbolism and Modernism. His sensual portrayals of women are among his most celebrated works and the focus of this book. Highlights of the publication include Klimt's most important society portraits, such as Serena Lederer (1899); Gertrud Loew (1902); Adele Bloch-Bauer I (1907); Ma&̈da Primavesi (1913); Elisabeth Lederer (1914–16); and Ria Munk III (1917). These works cover the gamut of Klimt's portrait style, from his early ethereal works influenced by Symbolism and the Pre-Raphaelite movement to his so-called "golden style," as well as his almost Fauvist depictions. These art works are complemented by preparatory Klimt sketches and decorative arts from the Wiener Werksta&̈tte.
A founding member of the early twentieth century German avant garde artists' group "Die Brücke," Ernst Ludwig Kirchner moved to Berlin in 1912 and became enthralled by what he called "the symphony of the great city." He responded to the intensity of Berlin's street life by recording the urban spectacle around him--most notably in "Berlin Street Scene" (1913-14), which is widely considered one of the greatest German paintings of the twentieth century. This beautifully illustrated, scholarly volume--written and edited by the noted independent curator and art historian Pamela Kort--provides a full exploration of the history and significance of Kirchner's masterpiece. Featuring full reproductions and details of "Berlin Street Scene" and other related artworks, as well as plentiful documentary photographs and supporting materials, this volume illuminates the ominous force of nervous energy and sexual tension that Kirchner sensed lurking beneath the veneer of civilized life.
“I am not interested in myself as a subject for painting, but in others, particularly women...”Beautiful, sensuous and above all erotic, Gustav Klimt’s paintings speak of a world of opulence and leisure, which seems aeons away from the harsh, post-modern environment we live in now. The subjects he treats – allegories, portraits, landscapes and erotic figures – contain virtually no reference to external events, but strive rather to create a world where beauty, above everything else, is dominant. His use of colour and pattern was profoundly influenced by the art of Japan, ancient Egypt, and Byzantium. Ravenne, the flat, two-dimensional perspective of his paintings, and the frequently stylised quality of his images form an oeuvre imbued with a profound sensuality and one where the figure of woman, above all, reigns supreme. Klimt’s very first works brought him success at an unusually young age. Gustav, born in 1862, obtained a state grant to study at Kunstgewerbeschule (the Vienna School of Arts and Crafts) at the age of fourteen. His talents as a draughtsman and painter were quickly noticed, and in 1879 he formed the Künstlercompagnie (Artists’ Company) with his brother Ernst and another student, Franz Matsch. The latter part of the nineteenth century was a period of great architectural activity in Vienna. In 1857, the Emperor Franz Joseph had ordered the destruction of the fortifications that had surrounded the medieval city centre. The Ringstrasse was the result, a budding new district with magnificent buildings and beautiful parks, all paid for by public expenses. Therefore the young Klimt and his partners had ample opportunities to show off their talents, and they received early commissions to contribute to the decorations for the pageant organised to celebrate the silver wedding anniversary of the Emperor Franz Joseph and the Empress Elisabeth. In 1894, Matsch moved out of their communal studio, and in 1897 Klimt, together with his closest friends, resigned from the Künstlerhausgenossenschaft (the Cooperative Society of Austrian Artists) to form a new movement known as the Secession, of which he was immediately elected president. The Secession was a great success, holding both a first and second exhibition in 1898. The movement made enough money to commission its very own building, designed for it by the architect Joseph Maria Olbrich. Above the entrance was its motto: “To each age its art, to art its freedom.” From around 1897 onward, Klimt spent almost every summer on the Attersee with the Flöge family. These were periods of peace and tranquillity in which he produced the landscape paintings constituting almost a quarter of his entire oeuvre. Klimt made sketches for virtually everything he did. Sometimes there were over a hundred drawings for one painting, each showing a different detail – a piece of clothing or jewellery, or a simple gesture. Just how exceptional Gustav Klimt was is perhaps reflected in the fact that he had no predecessors and no real followers. He admired Rodin and Whistler without slavishly copying them, and was admired in turn by the younger Viennese painters Egon Schiele and Oskar Kokoschka, both of whom were greatly influenced by Klimt.
Color illustration and map on lining papers.
Gustav Klimt's art thoroughly expresses the apocalyptic atmosphere of Vienna's upper middle-class society - a society devoted to the cultivation of aesthetic awareness and the cult of pleasure. The ecstatic joy which Klimt and his contemporaries found - or hoped to find - in beauty was constantly overshadowed by death. And death therefore plays an important role in Klimt's art. Klimt's fame, however, rests on his reputation as one of the greatest erotic painters and graphic artists of his times. In particular, his drawings, which have been widely admired for their artistic excellence, are dominated by the erotic portrayal of women. Klimt saw the world "in female form". [site accessed 23/07/2012 - http://www.amazon.com/Gustav-Klimt-1862-1918-Basic-Art/dp/382285980X].
“I am not interested in myself as a subject for painting, but in others, particularly women...”Beautiful, sensuous and above all erotic, Gustav Klimt’s paintings speak of a world of opulence and leisure, which seems aeons away from the harsh, post-modern environment we live in now. The subjects he treats – allegories, portraits, landscapes and erotic figures – contain virtually no reference to external events, but strive rather to create a world where beauty, above everything else, is dominant. His use of colour and pattern was profoundly influenced by the art of Japan, ancient Egypt, and Byzantium. Ravenne, the flat, two-dimensional perspective of his paintings, and the frequently stylised quality of his images form an oeuvre imbued with a profound sensuality and one where the figure of woman, above all, reigns supreme. Klimt’s very first works brought him success at an unusually young age. Gustav, born in 1862, obtained a state grant to study at Kunstgewerbeschule (the Vienna School of Arts and Crafts) at the age of fourteen. His talents as a draughtsman and painter were quickly noticed, and in 1879 he formed the Künstlercompagnie (Artists’ Company) with his brother Ernst and another student, Franz Matsch. The latter part of the nineteenth century was a period of great architectural activity in Vienna. In 1857, the Emperor Franz Joseph had ordered the destruction of the fortifications that had surrounded the medieval city centre. The Ringstrasse was the result, a budding new district with magnificent buildings and beautiful parks, all paid for by public expenses. Therefore the young Klimt and his partners had ample opportunities to show off their talents, and they received early commissions to contribute to the decorations for the pageant organised to celebrate the silver wedding anniversary of the Emperor Franz Joseph and the Empress Elisabeth. In 1894, Matsch moved out of their communal studio, and in 1897 Klimt, together with his closest friends, resigned from the Künstlerhausgenossenschaft (the Cooperative Society of Austrian Artists) to form a new movement known as the Secession, of which he was immediately elected president. The Secession was a great success, holding both a first and second exhibition in 1898. The movement made enough money to commission its very own building, designed for it by the architect Joseph Maria Olbrich. Above the entrance was its motto: “To each age its art, to art its freedom.” From around 1897 onward, Klimt spent almost every summer on the Attersee with the Flöge family. These were periods of peace and tranquillity in which he produced the landscape paintings constituting almost a quarter of his entire oeuvre. Klimt made sketches for virtually everything he did. Sometimes there were over a hundred drawings for one painting, each showing a different detail – a piece of clothing or jewellery, or a simple gesture. Just how exceptional Gustav Klimt was is perhaps reflected in the fact that he had no predecessors and no real followers. He admired Rodin and Whistler without slavishly copying them, and was admired in turn by the younger Viennese painters Egon Schiele and Oskar Kokoschka, both of whom were greatly influenced by Klimt.