Submitted 2 years ago by ocnys to Siren
Death and Life, 1915
Gustav Klimt’s large painting Death and Life, created in 1910, features not a personal death but rather merely an allegorical Grim Reaper who gazes at “life” with a malicious grin. This “life” is comprised of all generations: every age group is represented, from the baby to the grandmother, in this depiction of the never-ending circle of life. Death may be able to swipe individuals from life, but life itself, humanity as a whole, will always elude his grasp. The circle of life likewise repeats itself in the diverse, wonderful, pastel-coloured circular ornaments which adorn life like a garland. Gustav Klimt described this painting, which was honoured with a first prize at the 1911 International Art Exhibition in Rome, as his most important figurative work. Even so, he seems to suddenly no longer have been satisfied with this version in 1915, for he then began making changes to the painting—which had by that time long since been framed. The background, reportedly once gold-coloured, was made grey, and both death and life were given further ornaments. Standing before the original and examining the left interior edge of Josef Hoffmann’s frame for the painting, one can still discern traces of the subsequent over-painting, which was done by Klimt himself (fineartamerica).
As one of Gustav Klimt’s central works, this is regarded as one of his greatest allegories, in which he used a bold composition to address the cycle of human life. His first sketches on paper were made as early as 1908 and were brought to oil in 1910. In its first presentation at the 1911 International Art Exhibition in Rome, Klimt received the gold medal. For unknown reasons, he decided to fundamentally revision the work in 1915. Klimt was able to depict the jarring entanglement of life and death through the formal and motivic contrast of a stream of naked human bodies – mother and child, an old woman, a loving couple – surrounded by colorful ornaments and flowers on the right, and the solitary, darkly dressed figure of death on the left. What was supposed to have originally been a gold background appears in the final version as gray, with death appearing almost vigorous, wrapped in a blue ornamental coat and raising a small red club, while life glows with its bright colors, figures, and ornamentation (leopoldmuseum).
The Bride (unfinished), 1917/18
“The first presentation of drawings along with the extant sketchbook and the painting The Bride from the collection of the Klimt Foundation allows visitors to delve directly into the fantasies and visions of this exceptional artist. The painting further affords scope for new interpretations and, through its Expressionist accents, links Gustav Klimt as a pioneer of modernism in Austria with his successors Oskar Kokoschka and Egon Schiele,” according to the exhibition’s curator Sandra Tretter (arthistorynewsreport).