[ad_1]
He painted women like Byzantines on the icons of their saints. The face and hands look fleshy, the silhouette floats in the ornamented. In Eugenia Primeavesi, which he described in 1913/14, the cover is a colorful carpet of flowers and leaves. In Marie Henneberg (1903), the dress, closed up to the neck, scrolls diagonally like a pale blue and dull cataract. All these paintings are in large format and present the women of Viennese society. Elegance, wealth and self-esteem, they give the impression that these precious beings always seem slightly behind.
Gustav Klimt is considered an erotic artist and represents a high-priced artist. He was already in his time. It took a lot of money and relationships to be able to hire a Klimt. The fate of his art culminates in the portrait of Adele Bloch-Bauer (1907). Who does not know these dream eyes in the gold rush? This image – as well as Klimt's "Kiss" – has in fact become an icon of sophisticated modernity. The National Socialists expropriated the Jewish family and it was only in 2006 that the work was returned to their descendants. Today, he is exhibited at the New Gallery in New York. Ronald S. Lauder bought it for $ 135 million – the highest price ever paid for a photo.
These stories shape the image of Gustav Klimt, chic clings to him. A visit to the Klimt exhibition in Halle / Saale can heal and complete many things. The Moritzburg Art Museum is not an explosive place. In a concentrated atmosphere, the history of twentieth-century art can be studied in Germany, with Lyonel Feininger, of course, who worked in Halle. Klimt is fine here because the Moritzburg presents art and crafts side by side. Klimt and the Vienna Secession, the design of the Wiener Werkstätten and an architect like Josef Hoffmann go hand in hand. And Halle an der Saale has a Klimt, Marie Henneberg. Moritzburg and its director, Thomas Bauer-Friedrich, have succeeded, a dream for much larger museums: a Klimt performance on the occasion of the 100th anniversary of the death of this artist, barely represented in German museums .
The body becomes the line, the line becomes the body
If you want to see Klimt everywhere you have to go to Vienna, the Belvedere has the largest Klimt collection in the world. The Halle show is a sensation and offers a good opportunity to approach this master. Ten paintings, it is not usually very much. At Klimt already. The Hennebergs are noble hosts for that. The portrait of Mary H. came from Vienna in the 1920s in the hands of a Leipzig lawyer and was acquired in 1979 for the Halle museum. Hugo Henneberg, Marie's husband, was an entrepreneur, patron and artist. The Klimt exhibition presents some of his extremely rare landscapes, known as rubber footprints. Klimt also exhibits three landscapes: an autumn forest, birches on the shore and a dream architecture on Attersee.
However, what you can get closer, are the drawings that are presented here in abundance. Already 17 years old, son of a gold burner, he does portraits in the manner of an old master. The "Portrait of a girl from the front, 1890/91" stares the viewer offensively. The body becomes the line and the line becomes the body. Klimt draws on packaging paper, constantly emphasizing attitudes, folds, and flowing shapes. Before making a large portrait in its lush colors, it creates countless patterns. The famous pictures are the result of a long process; that also made them dear at the time.
The portrait of Amalie Zuckerkandl, created in 1917, the year before his death, remained unfinished. The face and shoulders are perfectly executed and protrude like a mountain cone. The lower part is a preliminary drawing, a clue, the hands are only fine lines. In this drama one of the highlights of the exhibition, in which we meet so many women. Strange, however: Klimt's bads are not speculative or voyeuristic. Like Egon Schiele, they do not reveal in a dramatic way the badual organs. At the time of badgraphic attacks, his art is characterized by its elegance and free nature.
Klimt was excited about Japanese art
The young Klimt and his colleagues were scandalous in Vienna. Around 1900, Vienna was a very popular engine of modernization in almost every field – and psychobadysis and literature relied on ancient sources. Klimt's paintings are also provocatively decorative. With this art, no palace was adorned, but rather upper middle clbad villas, whose inhabitants often lost their status after the First World War, were impoverished and were quickly pursued by the nationals. Socialists.
It also belongs to Klimt, who has not experienced any of these experiences: this feeling of morbidity. Something about these paintings, some of which can be admired at Halle, is too beautiful, too chiseled, too distinguished. We know such a fair elegance of the art. And he also attaches something repulsive on the faces, they wear a mask-like expression in the world. This is not a coincidence. Gustav Klimt, like many artists of his time, was thrilled by Japanese art! He is also known by van Gogh. Klimt would have possessed a precious Japanese theater mask. He radiates to the very shape of his faces.
An excursion to Halle an der Saale is always worthwhile, not only because of Klimt and Moritzburg. The city has a particularly pleasant atmosphere. It is characterized by students, by the university, near which are the theater and the opera. Halle was less destroyed during the Second World War than other German cities. A bit of old central Europe has been preserved. In the museum anyway, but also outside, in the streets and alleys.
The exhibition is visible until January 6 at the Moritzburg Art Museum. At Friedemann-Bach-Platz 5 in Halle (Saale), every day from 10h to 18h (closed on Wednesdays). Admission 12 euros, concessions 9 euros.
Source link
