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 :. | Farmhouse in Upper Austria (mk20) | Judith I | Kuhe im Stall | Mermaids (Whitefish) (mk20) | Mada Primavesi |
Related Artists:Robert Nanteuil
French engraver, draughtsman and pastellist. He was the son of Lancelot Nanteuil, a wool merchant, and submitted his thesis in philosophy, for which he engraved the headpiece, at the Jesuit College of Reims, in 1645. He went on to work in the studio of Nicolas Regnesson, whose sister he married in 1646, before moving to Paris in 1647. His early work mainly consisted of portrait drawings in black lead on parchment (e.g. Paris, Louvre), and he continued to draw throughout his career. He took 155 of his 221 portraits directly from life. His drawing style was influenced by Philippe de Champaigne, and he based his engraving technique on the work of Claude Mellan and Jean Morin. By 1652 he had developed his own technique Francois Clouet
Francois Clouet Locations
The earliest reference to him is a document dated December 1541 (see Jean Clouet), in which the king renounces for the benefit of François his father estate, which had escheated to the crown as the estate of a foreigner. In this document, the younger Clouet is said to have followed his father very closely in his art. Like his father, he held the office of groom of the chamber and painter in ordinary to the king, and so far as salary is concerned, he started where his father left off. Many drawings are attributed to this artist, often without perfect certainty. There is, however, more to go upon than there is in the case of his father.
As the praises of Francois Clouet were sung by the writers of the day, his name was carefully preserved from reign to reign, and there is an ancient and unbroken tradition in the attribution of many of his pictures. There are not, however, any original attestations of his works, nor are any documents known which would guarantee the ascriptions usually accepted. To him are attributed the portraits of Francis I at the Uffizi and at the Louvre, and various drawings relating to them. He probably also painted the portrait of Catherine de Medici at Versailles and other works, and in all probability a large number of the drawings ascribed to him were from his hand. One of his most remarkable portraits is that of Mary, queen of Scots, a drawing in chalks in the Bibliotheque Nationale, and of similar character are the two portraits of Charles IX and the one at Chantilly of Marguerite of France. Perhaps his masterpiece is the portrait of Elizabeth of Austria in the Louvre. This piece made an important impression on Claude Levi-Strauss. In particular it helped inspire his theory of the mod??le reduit, or of works of art as simplifications and scale models of the realities they represent, and other theories of artworks, in his book The Savage Mind.
Clouet resided in Paris in the rue de Ste Avoye in the Temple quarter, close to the Hotel de Guise, and in 1568 is known to have been under the patronage of Claude Gouffier de Boisy, Seigneur d Oiron, and his wife Claude de Baune. Another ascertained fact concerning Francois Clouet is that in 1571 he was summoned to the office of the Court of the Mint, and his opinion was taken on the likeness to the king of a portrait struck by the mint. He prepared the death-mask of Henry II, as in 1547 he had taken a similar mask of the face and hands of Francis I., in order that the effigy to be used at the funeral might be prepared from his drawings; and on each of these occasions he executed the painting to be used in the decorations of the church and the banners for the great ceremony.
Several miniatures are believed to be his work, one very remarkable portrait being the half-length figure of Henry II in the collection of J. Pierpont Morgan. Another of his portraits is that of Francois, duc d Alençon in the Jones collection at South Kensington, and certain representations of members of the royal family which were in the Hamilton Palace collection and the Magniac sale are usually ascribed to him. He died on the 22nd of December 1572, shortly after the massacre of St Bartholomew, and his will, mentioning his sister and his two illegitimate daughters, and dealing with the disposition of a considerable amount of property, is still in existence. His daughters subsequently became nuns.
His work is remarkable for the extreme accuracy of the drawing, the elaborate finish of all the details, and the exquisite completeness of the whole portrait. He must have been a man of high intelligence, and of great penetration, intensely interested in his work, and with considerable ability to represent the character of his sitter in his portraits. His coloring is perhaps not specially remarkable, nor from the point of style can his pictures be considered especially beautiful, but in perfection of drawing he has hardly any equal.Joannes Fijt
(15 March 1611 - 11 September 1661) was a Flemish Baroque animal painter and etcher.
Fyt was born in Antwerp, where he was baptized on 15 June 1611, he was registered in 1621 as apprentice to Hans van den Berghe, who was a restorer of old pictures rather than a painter of new ones. Fyt then trained with Frans Snyders between about 1629-31, during which time, at the age of twenty, he entered the guild of St Luke as a master. From then until his death in 1661, he produced a vast number of paintings in which the bold facility of Frans Snyders is united to the powerful effects of Rembrandt, and harmonies of gorgeous tone are not less conspicuous than freedom of touch and a true semblance of nature.
He left Antwerp for Paris in 1633, travelling on to Italy the following year, where he worked in Venice and probably visited Rome (as he later joined the Guild of Romanists back in Antwerp). By 1641 he was back in Antwerp, where he married in 1654.
Hunting trophiesFyt excelled in the rendering of animal life in its most varied forms. He may have been less correct in outline, less bold in action than Snyders, but he was much more skilful and more true in the reproduction of the coat of deer, dogs, greyhounds, hares and monkeys, whilst in realizing the plumage of peacocks, woodcocks, ducks, hawks, and cocks and hens, he had no equal, nor was any artist even of the Dutch school more effective in relieving his compositions with accessories of tinted cloth, porcelain ware, vases and fruit.
He was not clever at figures, and he sometimes trusted for these to the co-operation of Cornelius Schut or Thomas Willeboirts Bosschaert, whilst his architectural backgrounds were sometimes executed by Quellyn. Silenus amongst Fruit and Flowers, in the Harrach collection at Vienna, Diana and her Nymphs with the Produce of the Chase, in the Belvedere at Vienna, and Dead Game and Fruit in front of a Triumphal Arch, belonging to Baron von Rothschild at Vienna, are specimens of the co-operation respectively of Schut, Willeborts and Quellyn. They are also Fyt's masterpieces. The earliest dated work of the master is a cat grabbing at a piece of dead poultry near a hare and birds, belonging to Baron Cetto at Munich, and executed in 1644. The latest is a Dead Snipe with Ducks, of 1660, sold with the Jäger collection at Cologne in 1871.
Great power is shown in the bear and boar hunts at Munich and Ravensworth castle. A Hunted Roedeer with Dogs in the Water, in the Berlin Museum, has some of the life and more of the roughness of Snyders, but lacks variety of tint and finish. A splendid specimen is the Page and Parrot near a table covered with game, guarded by a dog staring at a monkey, in the Wallace collection. With the needle and the brush Fyt was equally clever. He etched 16 plates, and those representing dogs are of their kind unique.