古斯塔夫•克里姆特Gustave Klimt（1862年7月14日——1918年2月6日），奥地利画家。
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古斯塔夫•克里姆特出生在-鲍姆加滕附近的维也纳七在奥匈帝国,第二个孩子男孩和四个女孩。他的母亲,安娜克里姆特(nee Finster),有一个未实现的雄心是一个音乐表演者。他的父亲,恩斯特克利姆特老,以前波西米亚是一个黄金雕刻师。他们的三个儿子都显示在早期艺术人才。克里姆特的弟弟恩斯特克里姆特和Georg克利姆特。
里姆特生活在贫困之中参加过维也纳工艺美术学院(Kunstgewerbeschule),在那里他学习了建筑画直到1883年。他受人尊敬的维也纳最重要的历史画家的时间,汉斯Makart。克里姆特欣然接受一个保守的原则培训;他早期作品可以分为学术。恩斯特。1877,他的兄弟,他,就像他的父亲,也会成为一名雕刻师,参加学校。两兄弟和他们的朋友,弗朗茨Matsch,开始一起工作,到1880年他们收到了大量佣金作为一个团队,他们所谓的“公司的艺术家”。他们还帮助老师在画壁画艺术历史博物馆在维也纳。克里姆特绘画开始他的职业生涯在大型公共建筑室内壁画和天花板Ringstraße,包括一个成功的一系列“寓言和象征”。
1888年克里姆特接到皇帝金勋章弗朗兹约瑟冰川我奥地利他的壁画描绘的贡献Burgtheater在维也纳。他也成为了一个荣誉成员慕尼黑大学和维也纳大学。恩斯特1892年克里姆特的父亲和哥哥都死后,他不得不承担财务责任他父亲和哥哥的家庭。悲剧也影响了他的艺术眼光,很快他将走向一个新的个人风格。他的风格特点在19世纪末的包容裸露真理(裸体真理)作为一个象征人物在他的一些作品,包括古代希腊和埃及(1891),帕拉斯雅典娜(1898)和裸露Veritas(1899)。历史学家认为,克里姆特与裸露veritas谴责的政策哈布斯堡家族和奥地利的社会,忽略所有的政治和社会问题。在1890年代早期克利姆特遇了奥地利时装设计师艾米莉路易丝Floge(他的嫂子的兄弟姐妹)是他的同伴是谁,直到他生命的终结。他的画,《吻》(1907 - 08年),被认为是一个图像的情人。他设计的许多服装她建模创建并在他的作品中。
在此期间克利姆特至少生了14个孩子。
克里姆特成为维也纳分离派的创始成员和总统(维也纳分裂),1897年该集团的期刊,版本骶骨(“神圣的春天”)。直到1908年他仍然与分裂。集团的目标是提供展览非传统的年轻艺术家,把维也纳最好的外国艺术家的作品,并出版自己的杂志展示的工作成员。该集团宣布不宣言,不鼓励任何特定的风格——出发博物学家,现实主义者,符号学派对所有的共存。政府支持他们的努力,给了他们一个租赁在公共土地上建造一个展厅。该集团的象征帕拉斯雅典娜,希腊女神的原因,智慧,克里姆特的艺术画他的激进版本在1898年。
1894年,克里姆特委托三幅画装饰天花板的大会堂维也纳大学。没有完成直到世纪之交的时候,他的三个绘画、哲学、医学、法学和批评他们的激进的主题和材料,和被称为“色情".克里姆特改变了传统寓言和象征成一门新的语言,更公开的性和因此更加令人不安。公众抗议来自所有quarters-political,审美和宗教。因此,绘画(见下面画廊)没有显示在天花板的大厅。这将是最后一次公开委员会接受的艺术家。
三幅画被撤退党卫军部队在1945年5月。
他裸露Veritas(1899)定义为了进一步建立“动摇”。[14]赤裸裸的裸体的红发女人拥有真理的镜子,虽然她是一个报价席勒着在一种程式化的刻字,“如果你不能与你的行为和你的艺术,请大家请只有几个。请多不好。”
1902年,克里姆特完成了贝多芬弗里兹十四维也纳分裂展览,目的是庆祝的作曲家和特色的彩色雕塑的马克斯·科林格。用于展览,碎屑和轻质材料直接画在墙上。展览这幅画被保存后,尽管它直到1986年才再次显示。贝多芬画像上的脸就像作曲家和维也纳法庭歌剧导演古斯塔夫•马勒.
在此期间克利姆特也没有局限于公共佣金。在1890年代末,他开始每年暑假Floge家族的海岸Attersee,他的许多风景。这些景观构成唯一的风格除了人物画克里姆特严重感兴趣。为了表彰他的强度,当地人叫他Waldschrat(“森林恶魔”)。
克里姆特的Attersee画的足够的数量和质量值得单独的升值。正式,景观特点是相同的设计和精致的图案作为比喻的碎片。深太空Attersee作品是平的,所以有效的一个平面,它相信克里姆特画的通过使用望远镜。
Gustav Klimt was born in Baumgarten, near Vienna in Austria-Hungary, the second of seven children—three boys and four girls. His mother, Anna Klimt (née Finster), had an unrealized ambition to be a musical performer. His father, Ernst Klimt the Elder, formerly from Bohemia, was a gold engraver.All three of their sons displayed artistic talent early on. Klimt's younger brothers were Ernst Klimt and Georg Klimt.
Klimt lived in poverty while attending the Vienna School of Arts and Crafts (Kunstgewerbeschule), where he studied architectural painting until 1883. He revered Vienna's foremost history painter of the time, Hans Makart. Klimt readily accepted the principles of a conservative training; his early work may be classified as academic In 1877 his brother, Ernst, who, like his father, would become an engraver, also enrolled in the school. The two brothers and their friend, Franz Matsch, began working together and by 1880 they had received numerous commissions as a team that they called the "Company of Artists". They also helped their teacher in painting murals in theKunsthistorisches Museum in Vienna. Klimt began his professional career painting interior murals and ceilings in large public buildings on the Ringstraße, including a successful series of "Allegories and Emblems".
In 1888 Klimt received the Golden Order of Merit from Emperor Franz Josef I of Austriafor his contributions to murals painted in the Burgtheater in Vienna. He also became an honorary member of the University of Munich and the University of Vienna. In 1892 Klimt's father and brother Ernst both died, and he had to assume financial responsibility for his father's and brother's families. The tragedies also affected his artistic vision and soon he would move towards a new personal style. Characteristic of his style at the end of the 19th century is the inclusion of Nuda Veritas (nude truth) as a symbolic figure in some of his works, including Ancient Greece and Egypt (1891), Pallas Athene (1898) and Nuda Veritas (1899). Historians believe that Klimt with the nuda veritasdenounced both the policy of the Habsburgs and the Austrian society, which ignored all political and social problems of that time. In the early 1890s Klimt met Austrian fashion designer Emilie Louise Flöge (a sibling of his sister-in-law) who was to be his companion until the end of his life. His painting, The Kiss (1907–08), is thought to be an image of them as lovers. He designed many costumes she created and modeled in his works.
During this period Klimt fathered at least fourteen children.
Klimt became one of the founding members and president of the Wiener Sezession (Vienna Secession) in 1897 and of the group's periodical, Ver Sacrum ("Sacred Spring"). He remained with the Secession until 1908. The goals of the group were to provide exhibitions for unconventional young artists, to bring the works of the best foreign artists to Vienna, and to publish its own magazine to showcase the work of members.The group declared no manifesto and did not set out to encourage any particular style—Naturalists, Realists, and Symbolists all coexisted. The government supported their efforts and gave them a lease on public land to erect an exhibition hall. The group's symbol was Pallas Athena, the Greek goddess of just causes, wisdom, and the arts—of whom Klimt painted his radical version in 1898.
In 1894, Klimt was commissioned to create three paintings to decorate the ceiling of the Great Hall of the University of Vienna. Not completed until the turn of the century, his three paintings, Philosophy, Medicine, andJurisprudence were criticized for their radical themes and material, and were called "pornographic". Klimt had transformed traditional allegory and symbolism into a new language that was more overtly sexual and hence more disturbing to some. The public outcry came from all quarters—political, aesthetic and religious. As a result, the paintings (seen in gallery below) were not displayed on the ceiling of the Great Hall. This would be the last public commission accepted by the artist.
All three paintings were destroyed by retreating SS forces in May 1945.
His Nuda Veritas (1899) defined his bid to further "shake up" the establishment. The starkly naked red-headed woman holds the mirror of truth, while above her is a quotation by Friedrich Schiller in stylized lettering, "If you cannot please everyone with your deeds and your art, please only a few. To please many is bad."
In 1902, Klimt finished the Beethoven Frieze for the Fourteenth Vienna Secessionist exhibition, which was intended to be a celebration of the composer and featured a monumental polychrome sculpture by Max Klinger. Intended for the exhibition only, the frieze was painted directly on the walls with light materials. After the exhibition the painting was preserved, although it was not displayed again until 1986. The face on the Beethoven portrait resembled the composer and Vienna Court Opera director Gustav Mahler.
During this period Klimt did not confine himself to public commissions. Beginning in the late 1890s he took annual summer holidays with the Flöge family on the shores of Attersee and painted many of his landscapes there. These landscapes constitute the only genre aside from figure painting that seriously interested Klimt. In recognition of his intensity, the locals called him Waldschrat ("Forest demon").
Klimt's Attersee paintings are of sufficient number and quality as to merit separate appreciation. Formally, the landscapes are characterized by the same refinement of design and emphatic patterning as the figural pieces. Deep space in the Attersee works is flattened so efficiently to a single plane, that it is believed that Klimt painted them by using a telescope.
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