![]() In contrast, Schiele, considered an emerging artist for most of his life, could not follow this path. The vast majority of Klimt’s portraits are oil paintings, in the square format that characterized his work, and are commissioned by personalities of Viennese society, especially women. In the third room of the exhibition visitors can clearly see one of the most representative genres of the two artists: the portrait. PORTRAITS AND EROTICISM: OVERCOMING THE TABÚ Schiele’s fascination will continue to grow until 1910, when he finds his own artistic and distinctive voice after spending a few months living outside Vienna, and says: “I walked with Klimt until March, today I think I am completely different.” His admiration towards him is evident, and the exchanges of drawings and sketches between the two artists probably increased their creative connection. ![]() Then, Schiele was 18 years old, had studied in the famous Akademie der Bildenden Kunste and had developed a dissatisfaction with conservative teaching models.Ī year later, in 1909, Schiele participated in the second Kunstschau after Klimt’s invitation. ![]() It is in 1908, when Klimt organizes the first Viennese Kunstschau and introduces his work Der Kuss, that Schiele is impressed by his painting. “I walked with Klimt until March, today I think I am completely different,” said Egon Schiele ![]() This drawing was also the study of his famous painting The Kiss (original title, Der Kuss). In the exhibition Drawings from the Albertina Museum, Vienna you can see the sketches entitled Studie für das Liebespaar im Beethovenfries, where Klimt works the crowning part of the mural and shows the realm of ideal happiness, a reflection of Friederich’s Ode to Joy Schiller, incorporated in the choir singing at the end of the Ninth Symphony. It is based on the Ninth Symphony and represents the temptation of humanity in the search for happiness through mythological iconography. Klimt, influenced by Japanese art, takes part with the Beethovenfries, a mural of 2.15×34 meters. The next major project in which Klimt decides to get involved, also before meeting Schiele, is the homage to Beethoven in the fourteenth Secession exhibition, which had more than 60,000 visitors. They caused public outrage among the Viennese due to the naked figures that could be appreciated, some of which can be seen in sketches and studies in room number two of the exhibition that hosts the Royal Academy of Arts. Klimt, by contrast, had already been at the centre of the scandal for The Faculty Paintings”, in 1894, when he was commissioned to create three large paintings at the University of Vienna. It is not clear when these two artists met in person: Schiele said it was in 1907, but then he was a totally unknown student. The exhibition can be visited until February 3 rd, 2019. Drawings from the Albertina Museum, Vienna. The Royal Academy of Arts of London (RA), on the centenary of the death of Gustav Klimt and Egon Schiele, wanted to pay tribute to these two great modernists with an itinerant exhibition that brings together the drawings and sketches made at different stages of their lives: Klimt / Schiele. On the occasion of the centenary of Schiele’s death, Jacobo Zabalo published a magnificent text in The New Barcelona Post. In addition, the two artists studied the expression of human bodies in their drawings, being interested on gestures and extreme postures and emphasizing the decorative and ornamental line. He relation between Klimt and Schiele is fascinating, despite the great age difference: Klimt was 28 years older than Schiele, but they shared the same artistic ideas, which were focused on avant-garde art, and embraced the concept of Gesamtkunstwerk, a form of total art that included architecture, sculpture, painting, design or decorative arts, among others.
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