Gustav Klimt: The World in Female Form
color and b/w scans
fairly good scan of this Taschen book. it definitely is not the same color and contrast as the nice glossy Taschen printer out in South Korea. but, it is a good substitute. this scan is not as good quality as some of my previous handful of art scans, but it is still better than the few art books i have downloaded from the site (for example, it is far superior in scan quality than the Taschen book on Carlo Scarpa; the Carlo Scarpa book is incalculably superior in content...)
as always on these profiles, Taschen succeeded in presenting a good biographical survey on Klimt and his times.
Lots of Klimt's representative works featured here.
which after further the withdrawal of a "group of artists" was justified, was the first 61 Recumbent Female Nude with Study Arms, 1898 Black chalk, K.l Neue group and gives a coherent picture of their understanding of themselves as well as their self-confidence. The letter was immediately made public, thus confirming the final breach, although the term Secession was avoided at first. The following is an extract from the artist's letter: "As the governing body must be aware, a group of
painting lies in Klimt's attack on a powerful institution by showing the fate of an individual: "The accusation itself, with the emphasis on the individual sufferer, invol''^ ves a change from public ethos to private pathos." The most vehement and indeed polemical criticism of Klimt's revolution itself. their depiction Instincts are not "liberated" here prompts fear. As in other allegories Transfer sketch for Jurisprudence, 1903-1907 Black chalk, pencil, enlargement grid, 84x61 cm
final analysis, all creative artistic endeavours of man are therefore nothing but a matter of competing with nature. " ^' And it was said that the rejection of mimetic art went furthest where the crystalline structure in organic nature recurred in a work of art, where all similarity with external patterns had been shed, which . explains why applied art (and interior design) as well as abstract ornaments played a central role in Viennese Modernism around 1900. Having pointed out the radical
completely different groups and for different purposes. Whatever the case may be, we depend on one another and 1 would like to thank all those who have been working on this exhibition for their diligence, their cheerful willingness to make sacrifices, and their loyalty. But 1 would also hke to thank all our patrons and sponsors who enabled us to hold this exhibition, and in inviting you, dear visitors, to take a good look at the exhibition, 1 now declare the 1908 Viennese Kunstschau open." ^^
development and indeed opened up a career that was at first completely dominated by the historicist culture of the Ringstrasse Era. Klimt's style was marked by a characteristic contrast between excellent Modernist craftsmanship and abstract stylization, between decorative surface patterning and a confident development of space, both in the statuary proportioning of figures and in many of his drawings. Undoubtedly, this originated in the broad spectrum of "applied art" as it was taught by the