LaurieAnnie's photos with the keyword: Klimt

Title: Mäda Primavesi (1903–2000) Artist: Gustav Klimt (Austrian, Baumgarten 1862–1918 Vienna) Date: 1912–13 Medium: Oil on canvas Dimensions: 59 x 43 1/2 in. (149.9 x 110.5 cm) Classification: Paintings Credit Line: Gift of André and Clara Mertens, in memory of her mother, Jenny Pulitzer Steiner, 1964 Accession Number: 64.148 Mäda Primavesi’s expression and posture convey a remarkable degree of confidence for a nine-year-old girl, even one who was, by her own account, willful and a tomboy. Klimt made numerous preliminary sketches for this portrait, experimenting with different poses, outfits, and backgrounds before deciding to show Mäda standing tall in a specially-made dress amid a profusion of springlike patterns. The picture testifies to the sophisticated taste of her parents, banker and industrialist Otto Primavesi and his wife Eugenia, who were ardent supporters of progressive Viennese art and design. In fact, Klimt soon painted Eugenia’s portrait (Toyota Municipal Museum of Art, Japan). Text from: www.metmuseum.org/art/collection/search/436819

Title: Mäda Primavesi (1903–2000) Artist: Gustav Klimt (Austrian, Baumgarten 1862–1918 Vienna) Date: 1912–13 Medium: Oil on canvas Dimensions: 59 x 43 1/2 in. (149.9 x 110.5 cm) Classification: Paintings Credit Line: Gift of André and Clara Mertens, in memory of her mother, Jenny Pulitzer Steiner, 1964 Accession Number: 64.148 Mäda Primavesi’s expression and posture convey a remarkable degree of confidence for a nine-year-old girl, even one who was, by her own account, willful and a tomboy. Klimt made numerous preliminary sketches for this portrait, experimenting with different poses, outfits, and backgrounds before deciding to show Mäda standing tall in a specially-made dress amid a profusion of springlike patterns. The picture testifies to the sophisticated taste of her parents, banker and industrialist Otto Primavesi and his wife Eugenia, who were ardent supporters of progressive Viennese art and design. In fact, Klimt soon painted Eugenia’s portrait (Toyota Municipal Museum of Art, Japan). Text from: www.metmuseum.org/art/collection/search/436819

Gustav Klimt. (Austrian, 1862-1918). Hope, II. 1907-08. Oil, gold, and platinum on canvas, 43 1/2 x 43 1/2" (110.5 x 110.5 cm). Jo Carole and Ronald S. Lauder, and Helen Acheson Funds, and Serge Sabarsky Publication excerpt The Museum of Modern Art, MoMA Highlights, New York: The Museum of Modern Art, revised 2004, originally published 1999, p. 54 A pregnant woman bows her head and closes her eyes, as if praying for the safety of her child. Peeping out from behind her stomach is a death's head, sign of the danger she faces. At her feet, three women with bowed heads raise their hands, presumably also in prayer—although their solemnity might also imply mourning, as if they foresaw the child's fate. Why, then, the painting's title? Although Klimt himself called this work Vision, he had called an earlier, related painting of a pregnant woman Hope. By association with the earlier work, this one has become known as Hope, II. There is, however, a richness here to balance the women's gravity. Klimt was among the many artists of his time who were inspired by sources not only within Europe but far beyond it. He lived in Vienna, a crossroads of East and West, and he drew on such sources as Byzantine art, Mycenean metalwork, Persian rugs and miniatures, the mosaics of the Ravenna churches, and Japanese screens. In this painting the woman's gold-patterned robe—drawn flat, as clothes are in Russian icons, although her skin is rounded and dimensional—has an extraordinary decorative beauty. Here, birth, death, and the sensuality of the living exist side by side suspended in equilibrium. Text from: www.moma.org/collection/browse_results.php?object_id=79792

Gustav Klimt. (Austrian, 1862-1918). Hope, II. 1907-08. Oil, gold, and platinum on canvas, 43 1/2 x 43 1/2" (110.5 x 110.5 cm). Jo Carole and Ronald S. Lauder, and Helen Acheson Funds, and Serge Sabarsky Publication excerpt The Museum of Modern Art, MoMA Highlights, New York: The Museum of Modern Art, revised 2004, originally published 1999, p. 54 A pregnant woman bows her head and closes her eyes, as if praying for the safety of her child. Peeping out from behind her stomach is a death's head, sign of the danger she faces. At her feet, three women with bowed heads raise their hands, presumably also in prayer—although their solemnity might also imply mourning, as if they foresaw the child's fate. Why, then, the painting's title? Although Klimt himself called this work Vision, he had called an earlier, related painting of a pregnant woman Hope. By association with the earlier work, this one has become known as Hope, II. There is, however, a richness here to balance the women's gravity. Klimt was among the many artists of his time who were inspired by sources not only within Europe but far beyond it. He lived in Vienna, a crossroads of East and West, and he drew on such sources as Byzantine art, Mycenean metalwork, Persian rugs and miniatures, the mosaics of the Ravenna churches, and Japanese screens. In this painting the woman's gold-patterned robe—drawn flat, as clothes are in Russian icons, although her skin is rounded and dimensional—has an extraordinary decorative beauty. Here, birth, death, and the sensuality of the living exist side by side suspended in equilibrium. Text from: www.moma.org/collection/browse_results.php?object_id=79792

Gustav Klimt. (Austrian, 1862-1918). Hope, II. 1907-08. Oil, gold, and platinum on canvas, 43 1/2 x 43 1/2" (110.5 x 110.5 cm). Jo Carole and Ronald S. Lauder, and Helen Acheson Funds, and Serge Sabarsky Publication excerpt The Museum of Modern Art, MoMA Highlights, New York: The Museum of Modern Art, revised 2004, originally published 1999, p. 54 A pregnant woman bows her head and closes her eyes, as if praying for the safety of her child. Peeping out from behind her stomach is a death's head, sign of the danger she faces. At her feet, three women with bowed heads raise their hands, presumably also in prayer—although their solemnity might also imply mourning, as if they foresaw the child's fate. Why, then, the painting's title? Although Klimt himself called this work Vision, he had called an earlier, related painting of a pregnant woman Hope. By association with the earlier work, this one has become known as Hope, II. There is, however, a richness here to balance the women's gravity. Klimt was among the many artists of his time who were inspired by sources not only within Europe but far beyond it. He lived in Vienna, a crossroads of East and West, and he drew on such sources as Byzantine art, Mycenean metalwork, Persian rugs and miniatures, the mosaics of the Ravenna churches, and Japanese screens. In this painting the woman's gold-patterned robe—drawn flat, as clothes are in Russian icons, although her skin is rounded and dimensional—has an extraordinary decorative beauty. Here, birth, death, and the sensuality of the living exist side by side suspended in equilibrium. Text from: www.moma.org/collection/browse_results.php?object_id=79792

Gustav Klimt. (Austrian, 1862-1918). Hope, II. 1907-08. Oil, gold, and platinum on canvas, 43 1/2 x 43 1/2" (110.5 x 110.5 cm). Jo Carole and Ronald S. Lauder, and Helen Acheson Funds, and Serge Sabarsky Publication excerpt The Museum of Modern Art, MoMA Highlights, New York: The Museum of Modern Art, revised 2004, originally published 1999, p. 54 A pregnant woman bows her head and closes her eyes, as if praying for the safety of her child. Peeping out from behind her stomach is a death's head, sign of the danger she faces. At her feet, three women with bowed heads raise their hands, presumably also in prayer—although their solemnity might also imply mourning, as if they foresaw the child's fate. Why, then, the painting's title? Although Klimt himself called this work Vision, he had called an earlier, related painting of a pregnant woman Hope. By association with the earlier work, this one has become known as Hope, II. There is, however, a richness here to balance the women's gravity. Klimt was among the many artists of his time who were inspired by sources not only within Europe but far beyond it. He lived in Vienna, a crossroads of East and West, and he drew on such sources as Byzantine art, Mycenean metalwork, Persian rugs and miniatures, the mosaics of the Ravenna churches, and Japanese screens. In this painting the woman's gold-patterned robe—drawn flat, as clothes are in Russian icons, although her skin is rounded and dimensional—has an extraordinary decorative beauty. Here, birth, death, and the sensuality of the living exist side by side suspended in equilibrium. Text from: www.moma.org/collection/browse_results.php?object_id=79792

Gustav Klimt. (Austrian, 1862-1918). The Park. 1910 or earlier. Oil on canvas, 43 1/2 x 43 1/2" (110.4 x 110.4 cm). Gertrud A. Mellon Fund Text from: www.moma.org/collection/browse_results.php?object_id=78411