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

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Gustav Klimt
skulpturen

ID: 65220

Gustav Klimt skulpturen
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Gustav Klimt skulpturen


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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 :. | Rose Bushes Under the Trees | Judith I (detail) (mk20) | Roman and Venetian Quattrocento (mk20) | The Kiss (detail) (mk20) | adam and eve |
Related Artists:
Santi Di Tito
Italian Painter and Architect, 1536-ca.1602 was an Italian painter of Late-Mannerist or proto-Baroque style, what is sometimes referred to as Contra-Maniera. Born in Borgo San Sepolcro, in Tuscany. There is little documentation to support the alleged training under Bronzino or Baccio Bandinelli. From 1558-1564, he worked in Rome on frescoes in Palazzo Salviati and the Sala Grande of the Belvedere (Homage of the People) alongside Giovanni de' Vecchi and Niccol?? Circignani. He acquired a classical trait, described as Raphaelesque by S.J. Freedburg. This style contrasted with the reigning ornate Roman painterliness of the Federico and Taddeo Zuccari or their Florentine equivalents: Vasari, Alessandro Allori, and Bronzino. Among his pupils was Cigoli. Another pupil named Francesco Mochi became a sculptor in the Baroque style, creating among other pieces, the colossal Saint Veronica', supervised by Gianlorenzo Bernini and placed in the crossing of St. Peter's Basilica in Rome. After returning to Florence in 1564, He joined the Accademia del Disegno, and he did not venture to paint outside of Tuscany. He contributed two unusual paintings for the Duke's study and laboratory, the Studiolo of Francesco I in the Palazzo Vecchio. This artistic project was partly overseen by Giorgio Vasari. These paintings are (the Sisters of Fetonte and Hercules and Iole).
Lyon, Corneille de
Dutch practicing in France, approx. 1500-1575 Dutch painter, active in France. It is uncertain whether he was apprenticed in his native city of The Hague or in Antwerp, and nothing is known of him before 1533, when he was recorded in Lyon. It was possibly in the same year, while the French court was resident in Lyon, that Corneille was made painter to Queen Eleanor, the second wife of Francis I. In 1541 Corneille was painter to the Dauphin (later Henry II), and when the new king succeeded to the throne (1547) and made his state entry into Lyon in 1548, Corneille became Peintre du Roi. Corneille had obtained his naturalization papers in December 1547 and retained French nationality for the rest of his life. He married Marguerite Fradin, the daughter of a Lyon printer of some importance, and this allowed him to enter Lyon society. His studio was extremely prosperous until c. 1565, the year he is known to have visited Antwerp, but disappeared completely after his death despite the fact that he founded a dynasty of painters. His sons Corneille de La Haye II (b 1543) and Jacques de La Haye and his daughter Cl?mence de La Haye were all painters, and the family continued to be known for its artists until the 18th century. Corneille de Lyon was a Protestant, like all those in the circles in which he moved, and it may be that the decline of his fortunes in the 1560s was precipitated by the reversion of Lyon to the Catholic faction
Lefebvre, Jules Joseph
French, 1834-1912






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