Gustav Klimtオーストリア, 1862–1918Hope, II
お目にかかれますか？
はい、お客様をお迎えしています
一般公開されています。裏付けとなる出典は下に記しています。
- 確認
- 出典
- 美術館
この絵画について
Hope II (German: Die Hoffnung II) is a 1907–1908 oil-on-canvas painting with gold and platinum, by the Austrian symbolist painter Gustav Klimt. It depicts a pregnant woman with closed eyes and was the second of Klimt's works to focus on a pregnant woman, both depicting Herma, one of his favourite models. It was originally entitled Vision by Klimt, but has become known as Hope II after the earlier work Hope, which is now distinguished as Hope I. Hope II was acquired by the Museum of Modern Art in New York City in 1978.
作品データ
- 収蔵番号
- 468.1978
その頃、Gustav Klimtの人生では
生涯をすべて見る1900–1907
He returns the advance and keeps the paintings
The state commission refused to accept the three “Faculty Paintings”; Klimt told the minister he would return the 60,000-krone advance, refused to work for the Austrian state again and kept the pictures. The ministry demanded them, but Klimt did not open the door to the removal men — and the affair ended in his victory.
1905
Klimt and his group leave the Secession
Klimt and his “stylist” followers, who held that art should enter every sphere of life, fell out with the “naturalists”; the decision against Klimt's group was carried by a single vote. For the next three years the group had no joint exhibitions.
1906
The “Kunstschau” group
A year after the split Klimt formed the “Kunstschau” group, or “Klimt group”, which included Carl Moll, Otto Wagner and other leading Austrian artists.
1908
Klimt defends Kokoschka
The public and critics fell on the debutant Oskar Kokoschka so fiercely that the scandal of the “Faculty Paintings” came to mind; Klimt did not turn away from his pupil and defended his place in the show even if it were to be closed. Hevesi granted him talent but denied him taste; Klimt replied that art has nothing to do with taste.
1 June – 16 November 1908
The first Vienna Art Show
For the sixtieth anniversary of Franz Joseph's reign pavilions with 54 rooms were built on a temporary site and over 900 works shown. Room 22, which Peter Altenberg called “the church of modern art named after Gustav Klimt”, held “The Kiss”, “Adele Bloch-Bauer I”, “Danaë” and “The Three Ages of Woman”.
