Gustav KlimtOostenrijk, 1862–1918Bauerngarten mit Sonnenblumen
Mag men het zien?
Onbekend
Österreichische Galerie Belvedere
Wenen, Oostenrijk
De eigenaar is bekend; of het werk nu te zien is, is onbekend.
- Ongewijzigd sinds
- Bron
- Het museum
Over het schilderij
In de woorden van het museum — in het Duits
Sonnenblumen und Dahlien, Ringelblumen, Astern und Flammenblumen. Seinem Ruf als „Künstler des ewigen Blühens” wird Gustav Klimt mit diesem Werk mehr als gerecht. Vor saftigem Grün füllt er die Bildfläche mit einem leuchtenden Blütenmeer. Das bunte Wuchern weckt Erinnerungen an einen strahlenden Sommertag. Es entführt uns in eine Traumwelt jenseits von Raum und Zeit, in der Blumen und Blätter niemals verwelken. Typisch für Klimts Landschaftsbilder ist ihr quadratisches Format. Um den optimalen Bildausschnitt zu finden, verwendet der Maler einen Sucher. „Das ist ein in einen Pappendeckel geschnittenes Loch”, erläutert er selbst in einem Brief an seine Geliebte Mizzi Zimmermann.
Österreichische Galerie Belvedere
Gegevens
In de catalogus
Bronnen
- Österreichische Galerie Belvedere
- Afbeelding: Österreichische Galerie Belvedere — CC BY-SA 4.0
Intussen, in het leven van Gustav Klimt
Het hele leven1897–1917
Society portraits of Viennese ladies
Over twenty years Klimt painted nearly twenty society portraits of women, which gave him financial independence; Carl Moll introduced him to many of the sitters, most of them from the Jewish upper bourgeoisie. In the portraits the ladies are hidden in sumptuous clothing, their heads and hands seeming to float detached from reality.
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”.
