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古斯塔夫 克里姆特 作品画册专辑 |
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古斯塔夫 克里姆特 作品画册专辑 |
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古斯塔夫 克里姆特 作品画册专辑 |
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古斯塔夫 克里姆特 作品画册专辑 |
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古斯塔夫 克里姆特 作品画册专辑 |
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古斯塔夫 克里姆特 作品画册专辑 | |||||||||||||||
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被誉为 奥地利 国宝的象征主义画家古斯塔夫·克里姆特以沥粉、贴金箔等特殊手法创作的名画《阿黛尔·布洛赫-鲍尔I》，近日以1.35亿美元创下绘画作品拍卖世界纪录。
克里姆特 伟大的奥地利画家古斯塔夫·克里姆特（GustavKlimt，1862-1918）以其独特的绘画风格震惊世界。他是19世纪下半叶席卷欧美的“新艺术”运动中领袖之一，也是维也纳分离画派的领袖。
Gustav klimt(1862-1918年)
古斯塔夫克里姆特1862年7月14日出生于维也纳郊区布姆加特，父亲从事金银雕刻兼铜版工艺，克里姆特是他七个儿女中的长子，在这个工艺美术家庭的熏陶下，他与两个弟弟一起进入维也纳奥地利工艺美术馆附属工艺美术学校学习，毕业后进行壁画、壁饰的艺术创作。
1905年，在奥地利首都维也纳这个有着悠久艺术传统的城市，已成为美术家协会会员的克里姆特组织发起了一场旨在反对 学院派 美术泥古不化的保守势力，以“维也纳分离派”为称号，力求进行艺术创新，提倡世界各民族美术相互吸取营养，发展艺术家个人的风格。他早年的画风承习了 英国 拉斐尔前派 和 法国 印象派 的传统，自创立“分离派”后，开始把亚述、希腊和 拜占庭 镶嵌画的装饰趣味引入绘画中，用“孔雀羽毛、螺钿、金银箔片，蜗牛壳的花纩、色彩或光泽”，创造了一种“画出来的镶嵌”绘画，使作品中的绘画和工艺性达到了极点。
克里姆特热衷于收藏东方艺术品，其中包括大量 中国 、 日本 、朝鲜的艺术品和文物，这些收藏的屏风、绘画、花瓶、雕像，成为他的作品中的背景，这种东方艺术风格的造型和图案纹样的运用，借助色彩之富丽和诱人的牧笔触，表现出克里姆特融东方情趣于欧洲传统绘画的探索之举，建立在他深厚的素描功底和构图分割的平面化处理上，这对于欧洲现代绘画发展史有着积极的推动作用。
克里姆特是一位独具艺术个性，又以强烈 民族风格 的绘画大师，他所认为的“只有通过艺术，不断渗透到生活中去，艺术家才能找到基础，以取得进步”的观点与他的艺术实践证明他对现实生活的感受是相当敏锐的，这正是他所以能在艺术上取得成就的一个不可忽视的成功之处。
1918年2月6日，55岁的克里姆特死于中风和肺炎。
克里姆特喜欢赋予他的画以象征意义，比如那幅非常有名的《生与死》1908－1911年，就是一例。但是现在看起来，这种象征意义即便不是浅薄的，至少也是简单的。克里姆特的画作另有好处。在二十世纪绘画史上，精美虽然看起来似乎与构成主流的质朴自然是矛盾的，但是如果我们承认它也可以成为标准之一，克里姆特在这一方向上无疑是达到了迄今为止的顶点。实际上现代艺术正是在“可能发生”与“不可能发生”这样两个坐标系上展开，质朴自然和精美是不同的标准、两者均有无限的前景，只是不要相互夹缠了。
克里姆特的作品都有着一种内在的矛盾因素：一方面，女性裸体有着最大的性的魅力，甚至给观者一种切肤的丰满和温暖之感，使他们在心灵上无限趋近这些女人；另一方面，她们置身金碧辉煌的纯装饰性平面图案之中，仿佛被深深禁锢着，是如此不可企及，人们的渴望被阻遏了。这是些壁画里鲜活的女人，是色情的，又是纯洁的。这里结合了最极致的，最世俗的，同时也是最不可能实现的东西，从而有一种近乎绝望的诱惑。最终我们很难分清究竟是愉悦还是痛苦。人世间不可能有的种种美的折磨，美的沉迷和美的太息，是这么丰富饱满地展现在克里姆特笔下。
除了极少数情况，克里姆特的女人似乎都回避着与我们的接触，她们或者闭起眼睛，仿佛已经睡去，或者目光空洞茫然，心不在焉，但是往往摆出最勾魂摄魄的姿态。当她们意欲有所交流，仅仅是那狡黠的眼神就足以穿透一切，毁灭一切。这是些呆在天上的堕落的天使，如果降临人间，恐怕会引起一场肉欲的风暴。这些画确实有着“一种无形的、地狱边缘的气氛”(《现代艺术史》)。克里姆特也确实是非要把永恒置于毁灭的边缘才肯予以表达。
克里姆特的女人可以分为两类：一类如上所述，俗艳，淫荡；另外一类则高贵，典雅。共同之处是都非常美丽。后一类多是非裸体画像。
《玛格丽特·施藤布劳一维特根斯坦的肖像》，1905年；
《期待》(为斯托克莱特壁画所作样图之二)，1905－1909年；
他达到了这样的程度：“还没有人给我们提供过一幅某种欧洲女子如此高大完美的肖像。”
这时他把她们置于更加珠光宝气的氛围里，她们被不可思议地装饰着，她们本身也成了不可思议的装饰物，与观者遥遥相望、美丽而孤独，和他笔下那些裸女一样，仿佛都是人间飘渺的梦想。
The work of the Austrian painter and illustrator Gustav Klimt, b. July 14, 1862, d. Feb. 6, 1918, founder of the school of painting known as the Vienna Sezession, embodies the high-keyed erotic, psychological, and aesthetic preoccupations of turn-of-the-century Vienna's dazzling intellectual world.
He has been called the preeminent exponent of ART NOUVEAU. Klimt began (1883) as an artist-decorator in association with his brother and Franz Matsoh. In 1886-92, Klimt executed mural decorations for staircases at the Burgtheater and the Kunsthistorisches Museum in Vienna; these confirmed Klimt's eclecticism and broadened his range of historical references. Klimt was a cofounder and the first president of the Vienna Secession, a group of modernist architects and artists who organized their own exhibition society and gave rise to the SECESSION MOVEMENT, or the Viennese version of Art Nouveau. He was also a frequent contributor to Ver Sacrum, the group's journal.
Among the important decorative projects undertaken by Klimt were his celebrated Beethoven frieze (1902; Osterreichische Galerie), a cycle of mosaic decorations for Josef Hofmann's Palais Stoclet in Brussels (1905-09), and numerous book illustrations.
The primal forces of sexuality, regeneration, love, and death form the dominant themes of Klimt's work. His paintings of femmes fatales, such as Judith I (1901; Osterreichische Galerie, Vienna), personify the dark side of sexual attraction. The Kiss (1907-08; Osterreichische Galerie) celebrates the attraction of the sexes; and Hope I (1903; National Gallery, Ottawa) juxtaposes the promise of new life with the destroying force of death. The sensualism and originality of Klimt's art led to a hostile reaction to his three ceiling murals--Philosophy (1900), Medicine (1901), and Jurisprudence (1902)--for the University of Vienna.
Klimt's style drew upon an enormous range of sources: classical Greek, Byzantine, Egyptian, and Minoan art; late-medieval painting and the woodcuts of Albrecht Dürer; photography and the symbolist art of Max Klinger; and the work of both Franz von Stuck and Fernand Khnopff. In synthesizing these diverse sources, Klimt's art achieved both individuality and extreme elegance.
"Gustav Klimt first made himself known by the decorations he executed (with his brother and their art school companion F. Matsch), for numerous theatres and above all (on his own this time) for the Kunsthistorisches Museum in Vienna, where he completed, in a coolly photographic style, the work begun by Makart. At the age of thirty he moved into his own studio and turned to easel painting. At thirty-five he was one of the founders of the Vienna Secession; he withdrew eight years later, dismayed by the increasingly strong trend towards naturalism.
"The coruscating sensuality of Klimt's work might seem in perfect accord with a society which recognized itself in those frivolous apotheoses of happiness and well-being, the operettas of Johann Strauss and Franz Léhar. Nothing could be further from the truth. Far from being acknowledged as the representative artist of his age, Klimt was the target of violent criticism; his work was sometimes displayed behind a screen to avoid corrupting the sensibilities of the young. His work is deceptive. Today we see in it the Byzantine luxuriance of form, the vivid juxtaposition of colors derived from the Austrian rococo - aspects so markedly different from the clinical abruptness of Egon Schiele. But we see it with expectations generated by epochs of which his own age was ignorant.
"For the sumptuous surface of Klimt's work is by no means carefree. Its decorative tracery expresses a constant tension between ecstasy and terror, life and death. Even the portraits, with their timeless aspect, may be perceived as defying fate. Sleep, Hope (a pregnant woman surrounded by baleful faces) and Death are subjects no less characteristic than the Kiss. Yet life's seductions are still more potent in the vicinity of death, and Klimt's works, although they do not explicitly speak of impending doom, constitute a sort of testament in which the desires and anxieties of an age, its aspiration to happiness and to eternity, receive definitive expression. For the striking two-dimensionality with which Klimt surrounds his figures evokes the gold ground of Byzantine art, a ground that, in negating space, may be regarded as negating time - and thus creating a figure of eternity. Yet in Klimt's painting, it is not the austere foursquare figures of Byzantine art that confront us, but ecstatically intertwined bodies whose flesh seems the more real for their iconical setting of gold."
Mother and Child (detail from The Three Ages of Woman), c.1905
by Gustav Klimt 61.0 x 76.2 cmFlowery Garden
by Gustav Klimt 71.1 x 101.6 cmExpectation, Stoclet Frieze, c.1909 (detail)
by Gustav Klimt 71.1 x 101.6 cmThe Kiss, c.1907
by Gustav Klimt 61.0 x 91.4 cmFreunddinnen
by Gustav Klimt 71.1 x 101.6 cmChurch at Cassone sul Garda
by Gustav Klimt 71.1 x 101.6 cmField of Poppies
by Gustav Klimt 71.1 x 99.1 cmCastello Sul Lago Atter
by Gustav Klimt 61.0 x 81.3 cmHygieia (detail from Medicine)
by Gustav Klimt 61.0 x 81.3 cmLady with Hat
by Gustav Klimt 61.0 x 81.3 cmJudith
by Gustav Klimt 61.0 x 78.7 cmDanae, c.1907
by Gustav Klimt 61.0 x 76.2 cmThe Virgin
by Gustav Klimt 68.6 x 99.1 cmSalome
by Gustav Klimt 61.0 x 81.3 cmForest of Beech Trees
by Gustav Klimt 61.0 x 91.4 cmMalcesine sul Garda
by Gustav Klimt 71.1 x 99.1 cmMountainside in Unterach
by Gustav Klimt 71.1 x 99.1 cmAdam and Eve
by Gustav Klimt 71.1 x 99.1 cm
