A propos de Gustav Klimt

A propos de Gustav Klimt, je mets quelques url ou on voit comment il a utilisé la feuille d'or. J'ai lu dans plusieurs biographies, qu'il faisait toujours poser ses modeles, nues, pour les habiller ( + ou - ) avec de la peinture et des feuilles d'or par la suite. On s'en ait apercu à sa mort, quand on a trouvé des croquis et des tableaux inachevés. Ca a fait un petit scandale à Vienne et quelques dames ont du rougir un peu ;-) D'abord un de ses plus célèbres tableaux : Gustav Klimt The Kiss, 1907/08 Oil, silver- and gold-leaf on canvas, 180 x 180cm http://www.artcyclopedia.com/artists/detail/Detail_klimt_gustav.html http://www.ibiblio.org/wm/paint/auth/klimt/judith1.jpg http://www.ibiblio.org/wm/paint/auth/klimt/wasserschlangen.jpg http://www.ibiblio.org/wm/paint/auth/klimt/klimt.adele-bloch-bauer.jpg http://www.ibiblio.org/wm/paint/auth/klimt/judith2.jpg http://www.ibiblio.org/wm/paint/auth/klimt/klimt.danae.jpg http://www.ibiblio.org/wm/paint/auth/klimt/klimt.emilie-floge.jpg http://www.artcyclopedia.com/artists/klimt_gustav.html In Gustav Klimt's most celebrated painting, 'The Kiss', we find the Secessionists' aim to aestheticize and imbue each aspect of life with art perfectly epitomized. Placed against a deep and vibrant dark-burnished background, a couple is locked in an embrace on the very edge of a flower-strewn, carpet-like meadow, and their hazardous position is counterpoised in a protective frame of gleaming gold. Klimt sublimates the lovers' kiss to a realm of universality; oblivious to her surroundings, the woman kneels before the ivy-crowned man and offers up her mouth, her whole face, which has regular yet generalised features. In this way any suggestion of sensuality that might break the artistic aspiration is avoided. The man's cloak, with its hard rectangular ornamentation, and the woman's dress, decorated with softly flowing lines and strongly coloured blossoms, represent the different principles involved in the kiss. The picture attempts to satisfy the yearning for happiness and evoke a world of perfect harmony in which differences - not only those of the sexes - are revoked. Klimt achieves this by isolating the couple, away from their spatial and temporal context, encased in the beauty of the ornamentation and its implicit richness. The deep impression made on Klimt by the mosaics of Ravenna and Venice is reflected here. The kiss is a form of redemption, just as, in relation to all the arts, it was in the Beethoven Frieze, and later, in an entirely ornamental world, in the Stoclet Frieze, signifying the goal and fulfillment of all human striving.