How Mural Master Klimt Became The Main Man Of Austria's Art Nouveau | Great Artists | Perspective

[Music] in 1897 Vienna became became the host City to a cultural revolution that year 40 artists broke away from the established artist's house to set up a bold new institution of their own the Vienna secession these were the painters and sculptors of the avangard full of new ideas about visual art they wanted to break down the barriers between art and craft they sought a suggestive psychological impact in their work the artist of the secession brought Vienna into the exciting world of end of the century European art and they were led by a painter recognized as a giant of the age Gustav climp climp was and remains an enigmatic figure he rarely revealed his innermost thoughts he was described as Moody and taciturn a monk-like figure permanently clad in his blue artist smar for climp it was his art that revealed his identity as a man and his pictures are now recognized as masterpieces of the age Gustaf kimp's artistic career started early on even as a student he received valuable commissions we can still admire the Striking naturalism of his early works but his greatest achievements were created later in his life after a long and deliberate artistic Evolution Beed decorative powerfully erotic it is for these unprecedented pictures that Gustaf climp is globally famous today what I enjoy most about climp is his sensuality his color his decorative effects which he achieved through using several different traditions of art Indian art European art and and Eastern art I think superficially it would be the the the pattern surface pattern of his work the fact that he involves surface pattern he uses surface pattern uh which is quite unusual but I think what I respond to is the fact he he didn't follow any particular Trend he was his own man and uh was there for and because of that he was not recognized it's only comparably recently that actually he's been recognized as a major figure climp was born on the 14th of July 1862 close to the city that would be his lifelong home his father worked in Vienna as a Goldsmith and engraver and he was Keen for his sons to become Craftsman like himself one of kimp's brothers did become a Goldsmith but the young Gustav displayed a wider artistic talent at the age of of 14 along with his brother Ernst he was enrolled in the Vienna School of the applied Arts this was a newly founded institution offering a curriculum far broader than that on offer at the established Academy of Fine Art the climp brothers learned the techniques of Mosaic and Fresco they studied the history of design and in the classes of Professor Ferdinand luberger they were schooled in the art of decorative painting away from their formal studies they also took time to learn the art of portraiture by copying from photographs long before leaving the academy in 1883 Gustav and Ernst climp were securing commissions and making money as artists shortly after completing his formal studies Gustaf climp set up his own studio in Vienna along with his brother and an academy friend France [Music] much that year climp completed this commission for a published series of paintings intitled allegories and emblems here we see a conventional neoclassical image very different from his famous pictures of later life but this is also a highly competent painting for a young man fresh from school commissioned works like these proved valuable for climp and his colleagues in 1886 their Studio received an even greater task to decorate the ceiling and stairc cases for Vienna's opulent New Theater the New Berg theater theater itself provided the subject matter for the work here we see Gustaf kimp's depiction of a performance of Romeo and Juliet in the famous Globe Theater of Shakespeare's time the Berg theater decorations also included this image of the antique theater in taramina a work revealing kimp's interest in classical themes this fascination with the classical stayed with climp throughout his life he was trained um as a classical artist had to go along to the museums and Galleries and copy classical casts and the most important artist in Vienna in the ' 80s and '90s called maart um used classical subjects in fact all the academies in Europe use classical subjects and Clint had to come to grips with that if he was going to be successful which he wanted to be Clint's early works also reveal a striking ability to depict the human face in his shakesperian decoration at the Berg theater climp wears a giant rough alongside his two Studio colleagues by this stage his years of copying photographs were now proving to be especially valuable the Berg theater decorations won his Studio a prize from the Austrian Emperor himself shortly afterwards climp received a further commission with a theatrical subject he was asked to paint the audience gathered for a performance at Vienna's old Berg theater the result was a virtual snapshot of vienes society in the late 1880s entitled the auditorium of the oldberg theater this is a small work executed in opaque colors mixed with water gum and honey the medium of goash it was a huge undertaking when news of the commission spread the leading lights of vienes society beat a path to the artist door desperate be included in the scene it's believed that climp produced no less than 1,500 Preparatory sketches before completing the picture the painting was rapturously received in 1890 the very same work earned Gustaf climp the emperor's prize as a painting I don't think it's a particularly great achievement at all as an exercise in publicity was absolutely Ely brilliant because all the socialites in Vienna wanted to be in the painting he um became very well known reminds us very much of some of the academy paintings for instance in the Royal Academy where everyone wants to be in it the private view at the RO Academy my FR is a good example the success of the auditorium painting made gustaff climp a famous figure in Vienna and his Studio was soon commissioned to carry out another large decoration for the history of Art Museum Clint's task was to decorate the wall spaces between the pilaster columns with figures drawn from art history when completed the result was an intriguing series of portraits following a journey from ancient Egypt through classical times to the Italian Renaissance climp near photographic depictions of human facial features are startling his emphasis on female subjects permeated his life's Works Clint's use of gold as part of his decorative color scheme became a feature of much of his radical later work many viewers of the museum decorations are also struck by the strikingly modern appearance of many of his female figures but these are still Orthodox paintings when climp completed the decorations in 1891 he was still working in the established naturalist tradition of the time but things were about to change both in the artist's personal life and in the wider Society of his home City it would lead to a revolution in the art of Gustav climp in 1892 clp's life was turned upside down his father died shortly followed by the deaths of his brother and Studio colleague it appears that CLP was plunged into Gloom by this double tragedy he was however supported by his sister-in-law Emily flog as well as Vienna's cultural Community it was an exciting time to move in artistic circles from 1890 onwards an aval guard movement began to flourish in [Music] Vienna in literature and and later in art a reaction developed against What was seen as the restrictions of naturalism treat yourself to the best gift in history this holiday season enjoy unlimited access to award-winning podcasts and thousands of hours of original history documentaries released weekly exclusively on History hit there are topics for all history lovers from Pompei to D-Day sign up via the link in the description for an exclusive discount don't miss out on this incredible opportunity to explore the past like never before with history hit intellectuals began to argue for a more suggestive symbolic art that would Express the deeper truths of The Human Condition Gustaf climp moved widely in avangard circles and it was against this background that his work began to change in the early '90s the younger painters in Vienna wanted to have access to more European art they wanted to bring it into Vienna to be exhibited which was not allowed um at that time and they also wanted to be able to exhibit their own art in other European venues and I think it's that restriction which was the thing that any Young artist coming through uh clearly wanted to be able to voice their own views and this was not allowed uh and indeed they were simply not accepted so in that sense I think that um uh generally including Clint there was a general as there often is a revolt against against the establishment in the early years of the 1890s Gustaf climp spent more and more time in the vienes coffee houses surrounded by avangard ideas which found their way into his work as early as 1990 climp painted a portrait of The Pianist Joseph pmar the full meaning of the strange classical images in the framing is still debated today kimp's incorporation of the liar can be interpreted as an illusion to Harmony as expressed through the notion of the tuned string this was an important idea of Greek Antiquity reflecting the artist's enduring fascination with the ancients and again the liar features in his 1895 canvas climp painted music for the first time in 1895 a far cry from his earlier naturalism there is quite an element uh of allusion to Greek Archaic uh uh Egyptian and of course that ties in with his his um liking for a wide variety of academic C including for instance in this country Alat adma but at the same time the composition is going a bit Wayward uh it's going asymmetrical it's going around to the edges uh and it is including and this is where we begin to see this surface decoration coming in climp started to move towards the flat freezlike composition that characterized much of his greatest work his use of gold reached New Heights he liked the ornamentation of course the decorative effects and of course his father was a Goldsmith so he'd had some training early on in life in goldsmithing but gold does seem to have emerged at this stage of Music one as something which we can quite clearly see as he began to develop and work on and of course later on other other inspiration came to him from other sources which added to that by the time this sketch was completed in 1895 Gustaf climp was moving towards the art of his maturity the same year he painted this memorable canvas a representation of love the image crackles with passion with the sensation enhanced by the golden framing device but it is also an attempt to convey something more than just the joy of Love positioned above the Embrace are bizarre female heads symbols of the ages of woman Hood the presence of this terrible old hag looking down from the sky is a reminder that passionate love has its darker side it's his if you like Fascination if not obsession with woman uh and uh you can link that of course with the whole business of the rise of science of psychology and the whole business of sexual ethics and the that um and we see here what emerges much later on an ambivalent attitude towards women um because you have got a painting here mysterious dark ill ill defined unlike the the music one which was done at the same time it actually has quite a lot of symbolism in the actual focus of the picture is on the two romantic um people about to kiss fairly traditional conventional the man is very Brown the woman's very pale she has her head lifted up in a traditional female submissive role we've got um at the top of the painting The Three Ages of woman uh uh very young um maturity and and old age and that is a theme which he comes to time and time again it's very depressing and I think a lot of his work can be seen to be very depressing and I think that's also a reason why uh there's been a an ambivalent attitude towards him climp was well aware of the ambiguous nature of eroticism his enthusiasm to convey this message landed him in trouble and he was condemned as little more than a pornographer but when this canvas was completed in 1895 gustaff climp was still seen by many as the master of neoclassical decorative projects that reputation secured him a commission to paint the ceiling of the Great Hall of Vienna's University but the mammoth commission sparked the greatest controversy of his career when the first fruits of his labor were revealed in 19001 the University authorities were outraged by the uncompromising boldness of his work but they should not have been surprised by the end of the 19th century climp had become identified with everything radical in vienes art the Vienna secession in 1891 climp had been elected to the consler house the artist's house that dominated the vienes art scene this established institution owned the only exhibition Hall in Vienna painters who wanted their work exposed to any sort of audience found themselves forced to compromise their art to fall in with the academic style of painting favored by the the kouna House Creative Suffocation was not an unusual phenomenon at the time it had been seen before elsewhere in Europe French art was formerly dominated by the academic philosophy of the Paris Salon but in 1874 the artist who became known as the impressionist broke the strangle hold forever with the first of their historic independent exhibitions but elsewhere in Europe the old traditionalism lived on in the Vienna of the early 1890s paintings in the impressionist style were still excluded from the councelor house exhibition eventually the city's most liberal artists revolted in 1897 40 of them decided to form their own independent institution with gustaff clim as its first president this was the birth of the Vienna secession the Vienna secession as it's called is something which was really part of the spirit of the age uh in Austria and Germany for instance in 1892 uh there was a secession at Munich the viene secession uh uh was 1897 and then there was on Berlin in 1899 so in other words it wasn't peculiar to be it it it was part of the spirit of the age the artists in Vienna the younger artists were dissatisfied with the lack of choice in their um exhibiting venues and the lack of European input into their exhibitions and this is why climp and a few others decided to set up their own group which could have been accepted of course by the academic circles but they didn't accept it they criticized it heavily so during that particular meeting in fact where they criticized it climp and his friends left and then they had to be independent the founders of the secession were Keen to show the vienes public that art had moved on from the stuffy academic approach favored by the Consular house leadership in 1898 the first secession exhibition took place the venue was a dedicated ated building strongly influenced by the Contemporary Spirit of art Nuvo it's quite interesting that they had a great deal of backing actually because for instance they had a new building built for their seccession and that that must have CA you know they must have had tremendous amount of backing them and that in itself was a symbol of the new ideas in architecture we can also see the characteristic curving lines of Art nuuvo in this poster designed by climp to promote the first secession event art Nuvo was a European movement but the austrians would have known mostly about the English manifestation of Macintosh and his wife and Aubrey Beardsley and Whistler and what they liked about it was the symbolism for a start and the emphasis on design the sinuous movements natural forms it was it was the antithesis of of realism really it was something artificial something something exciting something that you could read deeper meanings into I'm reminded of something which is very peculiarly European and for someone like Hogarth peul English that is what Hogarth said in his analysis of Beauty in the middle of the 18th century was the line of beauty which was a senu shallow s and if you look at that the senous shallow s is something which is very very much part uh of the art Nuvo and I think it was tapping into something which was if feel like pre- Reen SCE the art was and yet was absolutely modern and was breaking down this barrier between the art and the crafts the Vienna secession took the City by storm with the first exhibition attracting almost 60,000 visitors they were able to enjoy works by artists from abroad as well as the best new vienes talent and the works on show were not restricted to paintings sculptures graphic works and drawings were all shown breaking down the barriers between fine and applied Arts climp moved into graphic work with his exhibition poster and with an illustration for the secessions own magazine the sacred spring but at the second secession event late in 1898 it was a climp oil painting that made the biggest impact this is Palace atheni the Greek goddess of wisdom and the Arts the figure is not instantly recognizable the image is primarily one of the erotic literally dripping with golden seductive power the provocative nature of Palace aeni incensed some critics who referred to it as the demon of the sucession the barbed comments of the critics did not worry climp he was fully committed to his own agenda as the canvas The Naked Truth shows the depiction of pubic hair was a bold move in 1899 but the quote in the frame above could be more significant still taken from the work of the great German dramatist schilla it makes the artist's message clear great art is created by the few for the benefit of the few here we get uh a work which smacks you in the face really and it smacked the people in the face at the time it's really a full frontal nude which are shocking it was regarded as shocking because here he was moving away from the classicism the decent classicism of alam madma of Henry Moore in this this country uh of an of classical artist academic artists at the s in Paris uh it's if you were drap with if a woman's body was draped with something which looked vaguely classical uh with a few convenient classical pillars behind then it was decent but as Manny had found at the beginning of the 19th century if you uh if you do a painting of a woman facing you looking at you who's contemporary that is at the present then that's shocking that's terrible the themes and techniques of naked truth became recurring features of Clint's work but at the time the painting was completed the artist was engaged with other very different projects around 1898 he began to create the first of his many landscape pictures in 1900 climp created an Amazing Canvas depicting the great vienes composer Schubert at the piano one critic claimed it was the greatest Austrian painting ever sadly this haunting impressionistic image was destroyed during the second world war the second world war later claimed the most controversial works of his career his ceiling paintings for the Great Hall of Vienna University although this major commission was issued in 1894 it was only in 1900 at a secession exhibition that climp first revealed his university work his task was to paint three large allegorical paintings depicting philosophy medicine and jurist Prudence in 1900 he displayed his unfinished painting of philosophy the result sparked outrage the university authorities had expected a recognizable celebration of reason and wisdom what they got was something very different there was no ordered uh sort of classical composition of figures which were easily seen as representing in this case philosophers Aristotle Socrates whatever um it was a vague bunching of figures basically they they regard it was and then and they revolted uh something like 87 professors of the various departments were up in arms and wrote letters the equivalent of writing to the times um uh complaining about uh the vision was unclear the Figures were unclear the concept was unclear they seemed to be unclear is what they were on about you can see what were meaning one sense that didn't seem to get them very far the economics this thing was still going ahead and so they got it raised in Parliament and so there was a parliamentary debate about this and by 195 The Saga was dragged on for that length of time uh uh Clint himself didn't wish anymore to be compromised and decided to withdraw from the commission alog together no less than 87 University professors cond condemned the work and a similar reaction greeted the remaining paintings in the University Series in 1901 medson was seen as illustrating the power of disease more than that of medicinal advances and the so-called climp Affair was debated in the Austrian Parliament the final painting jurist Prudence was also widely criticized the surviving photograph reveals a painting of the harshest most unforgiving brand of Justice sadly the loss of all three of these huge canvases in a 1945 fire means that contemporary audiences will never be able to appreciate the terror of the original work in the end climp grew tired of the whole university Affair and bought back his paintings from the ministry of culture annoyed by the conservative reaction to his work he hit back in a 192 canvas entitled goldfish climp originally considered calling the work to my critics the proposed title suggests a mischievous nature but little is known about the character of Gustav climp his personality is assessed purely on the basis of his art in the early 20th century saw him put his public controversies behind him whilst he created some of the greatest images of his career he continued to create major allegorical works such as the so-called Beethoven freeze a reinterpretation of the composer's legendary Ninth Symphony the coral symphony that concludes with the Power of Love celebrated in the kiss to the whole world from the Ode to Joy Clint also maintained a busy schedule of portraiture and increasingly landscape every summer he left Vienna to stay with his mistress at her family home in the country there he painted canvases like this image of fruit trees and in 192 this Beach Grove the strong sense of decorative pattern can almost be seen as a precursor to the abstract expressionism of the later 20th Century Modern audiences can imagine the landscape could be infinitely extended if we wished a sense made Stronger by the artist's recurring use of the square canvas well he was quite articulate about this and he said that this format makes it possible to bathe the subject in an atmosphere of Peace though through the square the picture becomes part of a universal whole so he sees the square as being able to be extended indefinitely in any direction and it is a universal shape it's also quite unconventional and and he probably liked that there's an analysis here a defining if you like defining a design problem of which the square is part uh and the square of course is one appreciates something which became very much uh very important whether it be to the constructivist and Improvement like man it um or indeed to people like Brock and Picasso um the square seem to be something with which they're working as a as a deliberate design problem I certainly see Clint as as deliberately defining the square through which or within which um the the trees are then orchestrated climp summers in the countryside enabled him to indulge his enthusiasm for landscape painting they also gave him time with his mistress Emily Flo though they never married Gustaf and Emily remained together for some 27 years and in 19002 she was the subject of one of the most significant works of kimp's career this was the first time that Gustav climp combined a naturalistic depiction of human hands and face with a flat jeweled decorative manner it was not the last it's as if he's been running this over he's got to know her very well indeed becomes if you like part of her and outcomes it's an outpouring of his his realism in this sense of feeling uh it is not of the T delineation again of what of the external surface it's getting at the soul and the spirit of the person and it's if you like reduced down to the face and the hands as being very naturalistic at least in the sense that you you know exactly what they are and they they they are the primary point of interest you go straight to them and yet they are contained and set within this almost amorphous uh Vivid pattern color shape uh which is not defined in the same sense and so you're getting the soul of the person being part of its surroundings the reality is more than the external appearance this is what Clint is getting at with this canvas climp moved closer to a full-scale aestheticism in his work the painting to be appreciated as a painting and as nothing else and its impact upon the viewer remains stunning the flat highly patented approach would dominate his later portraiture with canvases like fritzer rler from 196 and this dazzling image of Adel blockb completed the following [Music] year by this time climp had virtually given up painting male portraits he found no shortage of female Sitters in wealthy vienes Society but the artist possessed an ambiguous opinion of Womanhood like many others at the time he saw both the beautiful and the erotic in the feminine condition woman is both goddess and temptress and it is the latter characteristic that we see in this astonishing canvas depicting the biblical figure of Judith Judith is almost a monument to the destructive potential of female temptation here we get to like the archetypal fan fatal we've got woman temptress seductress Destroyer it's a again and telling us something about Clint and his his attitude to women uh or rather his his reaction to women the model for this painting was Adel BL B who was thought to be one of his Mistresses so there was um an intimate connection there and he portrays her in a state of ecstasy um which is not really so surprising since she's just cut off the head of um the leader of the Assyrian army which is what she actually wanted to do but it could be interpreted as sexual ecstasy rather than Triumph at having achieved something again it's the use of the surface decoration the use of tactile sensuous sensual color and form and yet the focus on the face the the facial features the slight tilting of the head gives a sort of dominance uh a domination uh which is all part and parcel of this it's it's a terrific work Gustaf climp lived in an age when the power of human sexuality itself was being revealed through the works of his fellow vienes Sigman Freud no one knows for certain if both men met but there is arguably a Freudian element in his canvas it is said that climp was possessed of a strong sexual drive one wealthy young lady described how the artist followed her to Venice in a fruitless attempt to win her love the sheer eroticism of much of climp later work does suggest a Freudian attempt to triumph over personal Neurosis the so-called path back to reality the artist's lifelong reluctance to talk about his artistic inspiration only adds to the neurotic suspicion there is also evidence that his working days followed an almost regimented routine and apart from his summer holidays with Emily Flo he hardly left Vienna at all but in 193 at the age of 41 Gustaf climp did Venture further a field when he traveled to Italy on two occasions he was not the first to make such a journey for centuries artists from Northern and Central Europe had made an Italian trip to see for themselves the greatest artistic achievements of antiquity and the Renaissance but cl's Journeys South had a very different purpose his destination was not Rome Florence OR Venice but the city of Rena to see the finest achievements in an art form from outside the Western tradition Mosaic it was the beginning of the artist's so-called golden period climp went to Rena in 1903 and he saw the Basilica of San vital which is full of the most amazing um mosaics and of course the mosaics are made up of small stones and gold and reflect the light in a particular way which he was completely entranced by and it was this that he brought back with him from Rena his interesting gold um is to do with his father being a Goldsmith and the fact that it's a reflective metallic surface which is exciting and contrasts with paint or with semi-precious stones very nicely and it gives a sense of luxury of course which is something that his vienes clients were particularly interested in during the middle years of the 20th Century's first decade the artists use of gold could be little short of overwhelming increasingly a greater degree of abstraction revealed itself in Golden period paintings like water serpents from 197 with this picture the artist has turned his erotic attentions to the business of lesbian love as the influence of Mosaic patterning can be seen all around the ecstatic couple the kiss provided further ammunition for his critics seeking a pornographic inspiration behind Clint's work but with the most famous painting of the artist's career it is difficult not to appreciate the artist's achievement in purely artistic terms this 198 image features the artist's trademark love of gold his use of Mosaic decoration his fascination with beauty the erotic and the act of the embrace the title is simply the kiss and it is for many the greatest achievement of Gustaf kimp's career the kiss is about that moment moment when two people become close to each other physically close emotionally close and at the point of a kiss you are not conscious of your surroundings in any defined way it's something so very personal and it's this magical use of form shape pattern in some ways it's very traditional of course as well because the man is taller and clasping the woman who is looking up to him it's very touching as well in the way that they relate to each other her hands are very expressive for example of course it also has um a symbolism in it because the decorations on the woman's garments are rounded circular and so on whereas the man has Square decorations more angular which two different symbolisms for the different Sexes it is the the shape of the two heads together surrounded by what emotionally one feels but doesn't see and that seems to me what's important it is an extremely powerful work disturbing yes and I think only comparative recently as I say taste been able to actually face up to it the kiss was first shown in public at a major exhibition in 198 and the value of the work was immediately recognized it was purchased by the National Gallery of Austria and kimp's fame was now assured but vienes art was once again changing the secession had divided into two groups the socalled realist who favored a more traditional painterly technique and cimps stylist who favored the decorative approach kimp's artistic friends included Oscar kak oska and the young igon shield and it was these artists who came to be seen as the real pioneers of the vienes avangard as Gustaf climp approached 50 years of age it appears that he felt the need to seek out new influences for his work at a 19009 exhibition he experienced The Works of Vincent Van [Music] goof his admiration for for the Dutchman can arguably be detected in landscape pictures like a canvas from 1912 1909 also saw Clint leave Vienna on one of his rare departures from the city he traveled to Paris where he developed a taste for the work of another great post-impressionist HRI tulus lre the portrait of a lady in a hat with a feather Bower could almost be seen as a homage to the French [Music] Master but Gustaf climp also continued to produce work in his own inimitable style eroticism and female sexuality continued as thematic concerns as in the virgin of 1913 but when the artist was commissioned to paint this portrait of the young Mada primes he proved that his flat decor itive approach could capture the innocence of girlhood as well as the ambiguous Spirit of adult woman but by the early 1910s it is said that climp was a tired looking man if so there was good reason for many years he had been engaged in the laborious production of his final Masterpiece and it had been a hugely ambitious project only in 1911 after 6 years of Labor was the work complete this was the stoclet palace freeze in 194 a millionaire in the city of Brussels decided to commission a complete work of art a great building where every component was part of an artistic hole to carry out the work he commissioned a splinter group from the Vienna secession the vienes workshop the architect was Joseph Hoffman and the artist responsible for the decoration of the dining room was gustaff climp the stocket palace summed up really what the Vienna workhouse um aimed at it was a combination of architecture and interior decoration including paintings and mosaics and sculpture and climp did the dining room and he did mosaics on three of the walls and and they were really the climax of his interior decorative projects the stoclet palace decorations gave climp the chance to work in the medium of Mosaic and the result was a Triumph on the long walls of the palace dining room he created the huge swirling image of the Tree of Life on the other walls two more symbolic images this fulfillment and perhaps greatest of all expectation the influence of Byzantine mosaic a Mastery of decorative pattern and above all kimp's famous concern with the erotic make it a masterpiece that rewards the patient viewer the stoclet palace decorations represent the final great achievement in the art of gustaff climp though he was not yet 50 when the freezes were installed in 19 he had less than 7 years to live in his final years he continued to paint with an increasing emphasis on his landscape work but on the 11th of January 1918 gustaff climp suffered a catastrophic stroke 4 weeks later he was dead but the majority of his work survives in the course of a remarkable able and controversial career climp moved away from the naturalist painting of which he was a master instead he pursued an art that was far more enigmatic leaving the city of Vienna speechless with admiration although the meanings of his greatest works are still disputed the value of the art of Gustaf climp cannot be in doubt climp achievement is enduring popularity actually and this must be because he deals with themes of constant interest to people like love and sexuality and sensuality I think it must be the luxury of his Works perhaps as well as the subject matter which continues to appeal to our materialistic age he links with some odd characters like Aubrey Beardsley for instance in this country um and I think he brings together a number of people which don't fit into into categories he constantly moves between what we've have subsequently thought of as the figurative and non-figurative Abstract plus attached to realism he is vital he's part of the spirit of the age and uh I think we've got a lot to learn about him as [Music] yet [Music]

Channel: Perspective

Views: 101,860

Keywords: Abstract Art, Artistic Inspirations, Artistic Revolution, Artistic Symbolism, Classical Art, Creative Genius, Cultural Movement, Egon Schiele, Eroticism, Gustav Klimt, Historic Paintings, Historical Figures, Historical Paintings, Modernist Art, Modernist Painting Movement, Mural Master, Oskar Kokoschka, Perspective, Secession Movement, Secessionist Movement, Vienna

Id: 2NXjk7ABhTg

Length: 49min 6sec (2946 seconds)

Published: Sat Dec 16 2023