Gustav Klimt
Gustav Klimt's Oil Paintings
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1862 – 1918, An Austrian Symbolist Painter.

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Gustav Klimt
Beethoven Frieze (mk20)

ID: 22428

Gustav Klimt Beethoven Frieze (mk20)
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Gustav Klimt Beethoven Frieze (mk20)


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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.  Related Paintings of Gustav Klimt :. | Portrait of Margaret Stonborough-Wittgenstein (mk20) | Portrait of Marie Henneberg (mk20) | Judith II(Salome) (mk19) | park | The Bride (unfinished) (mk20) |
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AMIGONI, Jacopo
Italian Rococo Era Painter, ca.1682-1752 He was born in Naples or Venice. Amigoni initially painted both mythological and religious scenes; but as the panoply of his patrons expanded northward, he began producing many parlour works depicting gods in sensuous languor or games. His style influenced Giuseppe Nogari. Among his pupils were Charles Joseph Flipart, Michelangelo Morlaiter, Pietro Antonio Novelli, Joseph Wagner, and Antonio Zucchi. Starting in 1717, he is documented as working in Bavaria in the Castle of Nymphenburg (1719); in the castle of Schleissheim (1725-1729); and in the Benedictine abbey of Ottobeuren. He returned to Venice in 1726. His Arraignment of Paris hangs in the Villa Pisani at Stra. From 1730 to 1739 he worked in England, in Pown House, Moor Park and in the Theatre of Covent Garden. From there, he helped convince Canaletto to travel to England by telling him of the ample patronage available. From his travel to Paris in 1736, he met the celebrated castrato named Farinelli. Later in Madrid, he was to paint a self-portrait with the singer and entourage. He also encountered the painting of François Lemoine and Boucher. In 1739 he returned to Italy, perhaps to Naples and surely to Montecassino, in whose Abbey existed two canvases (destroyed during World War II). Until 1747, he travelled to Venice to paint for Sigismund Streit, for the Casa Savoia and other buildings of the city. In 1747 he left Italy and established himself in Madrid. There he became court painter to Ferdinand VI of Spain and director of the Royal Academy of Saint Fernando. He died in Madrid.
Jusepe de Ribera
1591-1652 Spanish Jusepe de Ribera Galleries Jusepe de Ribera (January 12, 1591 - 1652) was a Spanish Tenebrist painter and printmaker, also known as Jos?? de Ribera in Spanish and as Giuseppe Ribera in Italian. He was also called by his contemporaries and early writers Lo Spagnoletto, or "the Little Spaniard". Ribera was a leading painter of the Spanish school, although his mature work was all done in Italy. In his earlier style, founded sometimes on Caravaggio and sometimes on the wholly diverse method of Correggio, the study of Spanish and Venetian masters can be traced. Along with his massive and predominating shadows, he retained from first to last a great strength in local coloring. His forms, though ordinary and sometimes coarse, are correct; the impression of his works gloomy and startling. He delighted in subjects of horror. In the early 1630s his style changed away from strong contrasts of dark and light to a more diffused and golden lighting. Salvator Rosa and Luca Giordano were his most distinguished followers, who may have been his pupils; others were also Giovanni Do, Enrico Fiammingo, Michelangelo Fracanzani, and Aniello Falcone, who was the first considerable painter of battle-pieces. Among Ribera's principal works could be named "St Januarius Emerging from the Furnace" in the cathedral of Naples; the "Descent from the Cross" in the Certosa, Naples, the "Adoration of the Shepherds" (a late work, 1650), now in the Louvre; the "Martyrdom of St Bartholomew" in the Prado; and the "Pieta" in the sacristy of San Martino, Naples. His mythologic subjects are often as violent as his martyrdoms: for example, "Apollo and Marsyas", with versions in Brussels and Naples, or the "Tityus" in the Prado . The Prado and Louvre contain numbers of his paintings; the National Gallery, London, three. He executed several fine male portraits and a self-portrait. He was an important etcher, the most significant Spanish printmaker before Goya, producing about forty prints, nearly all in the 1620s.






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