gustav klimt artworks
Although Gustav Klimt and his former partner had a falling out, in 1900, the first exhibit which he created for the University of Vienna, was laid out for public display. It was presented at the Paris World Fair, and he won the Grand Prix award for this piece. He continues the work in the university through 1901, even though it is met with criticism by many locals in Vienna.
In 1891, Gustav Klimt enrolls and becomes a member of the Co-operative society of Austrian artists, and the following year, both his brother and his father pass away. It is during this time that he decides to move to a larger studio, so that he will be able to create more, and will have more room to delve into the art forms he wants to work on in the future. In 1893, Gustav Klimt and Matsch are commissioned to paint the ceiling of the cathedral, in the new university of Vienna. During this period, both artists have a falling out; this in turn slows down the work, since both are taking a different approach in creation. Many of the pieces that were designed for the university, including “Medicine” and “Jurisprudence”, are not widely accepted by the local community, and are met with disdain due to the extreme symbolic nature in the art forms that were created in this public institution.
The Tree of Life focuses on a theme which has always been commonly found within different religious and spiritual teachings and typically represents health and growth, making this a positive choice of topic for Gustav Klimt.
Much of his detail was used on pretty flowers which were added to different types of topics, such as garden scenes or as elaborate decoration on outfits worn by his portrait subjects in paintings like The Kiss and Virgin.
Gustav Klimt (July 14, 1862 – February 6, 1918) was an Austrian symbolist painter and one of the most prominent members of the Vienna Secession movement. Klimt is noted for his paintings, murals, sketches, and other objets d’art. Klimt’s primary subject was the female body, and his works are marked by a frank eroticism. In addition to his figurative works, which include allegories and portraits, he painted landscapes. Among the artists of the Vienna Secession, Klimt was the most influenced by Japanese art and its methods.
Throughout his life, although he was a controversial painter due to his subject matter, he was made an honorary member of the Universities of Vienna and of Munich. He was also a founding member and president of the Vienna Secession, which sought to create a platform for new and unconventional artists, bring new artists to Vienna, and created a magazine to showcase its member’ work.
Klimt lived in poverty while attending the Vienna Kunstgewerbeschule, a school of applied arts and crafts, now the University of Applied Arts Vienna, where he studied architectural painting from 1876 until 1883.   He revered Vienna’s foremost history painter of the time, Hans Makart. Klimt readily accepted the principles of a conservative training; his early work may be classified as academic.  In 1877 his brother, Ernst, who, like his father, would become an engraver, also enrolled in the school. The two brothers and their friend, Franz Matsch, began working together and by 1880 they had received numerous commissions as a team that they called the “Company of Artists”. They also helped their teacher in painting murals in the Kunsthistorisches Museum in Vienna.  Klimt began his professional career painting interior murals and ceilings in large public buildings on the Ringstraße, including a successful series of “Allegories and Emblems”.
Gustav Klimt (July 14, 1862 – February 6, 1918) was an Austrian symbolist painter and one of the most prominent members of the Vienna Secession movement. Klimt is noted for his paintings, murals, sketches, and other objets d’art. Klimt’s primary subject was the female body,  and his works are marked by a frank eroticism.  In addition to his figurative works, which include allegories and portraits, he painted landscapes. Among the artists of the Vienna Secession, Klimt was the most influenced by Japanese art and its methods.
Klimt’s work proves difficult to decipher, and it appears that one of his goals with the painting was to show the ambiguity of human life, simultaneously representing the themes of birth and death. In some ways, it proves highly ironic, as Vienna at the time was one of the major centers of medical research: along with Sigmund Freud, who had just published The Interpretation of Dreams (1899), it was home to the pioneering abdominal surgeon Theodor Billroth. In this respect, Medicine demonstrates how, despite the great inroads the Secession had made in the four years since its founding, the movement had not decisively overturned conservative attitudes towards modern art in Vienna. For Klimt, the entire affair represented an ultimate public humiliation and rejection; he did not exhibit in Vienna for five years after 1903, and he swore off official commissions and withdrew to take on only private portrait commissions or landscapes for the remainder of his career. His trio of University paintings, born into a firestorm of controversy, met their own fiery fate as they found their way into the collections of Jews and became three of Klimt’s many works confiscated by the Nazis. They were incinerated in May 1945 inside the Schloss Immendorf, the lower Austrian castle where they had been stored, by retreating SS troops.
Though the Secessionists were known as a group that attempted to break with artistic traditions, their relationship with the past was more complex than a simple forward-looking mentality. Klimt, along with many of his fellow painters and graphic artists, cultivated a keen understanding of the symbolic nature of mythical and allegorical figures and narratives from Greece, Rome, and other ancient civilizations. With his soft colors and uncertain boundaries between elements, Klimt begins the dissolution of the figural in the direction of abstraction, that would come to full force in the years after he left the Secession. This painting exudes thus a sensory conception of the imperial, powerful presence of the Greco-Roman goddess of wisdom, Athena, and the inability of humans to full grasp that, rather than a crisp, detailed visual summation of her persona.