Gustav Klimt: Complete Paintings by Tobias G. NatterMy rating: 5 of 5 stars
I first saw this beautiful book at the gift shop of Vienna's Kunsthistorisches Museum when my wife and I visited there in 2019. I lusted after the book, but I had already shot my wad on book spending, mostly when we visited the "booktown" of Hay-on-Wye, Wales. Keep in mind that I had just consumed possibly the largest amount of art treasures (consumed with my gaze, that is) that I had ever seen. And I have visited a fair amount of art museums in my day. So, for me and this book to look out across the room and catch each other's eye was nothing short of love at first sight. Of course, one sets themselves up for failure when they romanticize a relationship that has not yet happened, and we did hit a couple of rough spots in our little 663 page fling. But all in all, I'm wrapped up in the afterglow. We loved and we loved with great gusto. Granted, it was all one sided - me indulging in the beauty of my lover. Love is sometimes like this.
As with any great book, I learned a great deal. I had never actually read a bio of Klimt (sorry, Wikipedia - I'm seeing someone else), and his life had a fair amount of twists and turns, from his young talent being recognized and rewarded, to the deaths of this brother and father (which greatly affected him), to the many, many love affairs he had (he sired 14 children - yes, you read that right). Klimt was a very, very interesting person.
This is not to mention his skill as an artist. His early work was intimately tied with some background in architecture and his greatest commissions were for artwork in state buildings or upper-class residences. Many of the "paintings" you've seen are actually murals. The cover of the book itself is a prime example of this. I was very excited to read the section about the secession building in Vienna, which my wife and I visited. He didn't do all of the art on the building, but he had a very, very strong influence on it, being the official leader of the secession movement. It is, to be candid, one of the most beautiful buildings I've seen in my life.
Taschen, the book's publisher, spares no expense in showcasing the fabulous art. For instance, pages 119-122 are a four-page full-color fold-out spread of the Beethoven Frieze. This is only one of four such fold-out spreads, if I am counting correctly. I didn't realize these fold-outs were a part of the book when I first purchased it (the book is bought wrapped tight in plastic). The book is littered with beauty. It's almost overwhelming. Such is Taschen!
I sort of knew that Klimt did portraiture, but I was unaware that he drew so many beautiful portraits. Klimt was a master at capturing personality. The Portrait of Rose von Rostborn-Friedmann is a good example. There is an adventurous spirit there (she was an alpinist who was one of the first women to scale two notable peaks), with a strong, sensual attractiveness that equals her pioneering elan.
As I alluded to earlier, I didn't agree with the editors all of the time. At first, I didn't buy the argument that Klimt was influenced by the Fauves after his golden period. The colors were all wrong: not fauvist at all. Later, though, I could see some Fauvist influence in the backgrounds of his later portraits. It wasn't as obvious as the authors portrayed it, but it's there, I'm willing to concede. Also, It's in landscapes, Tobias Natter (the editor) claims, that Klimt is most like the Symbolists. While I see that in some of his landscapes, I think it's in his mosaic works that I see the resemblance in a more profound, concrete way. Yes, the early landscapes are ethereal and hazy, like some of the Symbolists, and even his portraits show influence from Fernand Khnopff and Jan Toorop, but the outright iconography in his golden, bejewelled works speaks more to the mythic and symbolic to me than either his landscapes or portraits.
If you think Klimt's paintings are good, take a look at his drawings. The editor calls them "a parallel universe, existing alongside his painterly ouvre". So very true. Klimt's paintings and drawings are two sides of the same coin, each distinctive and each valuable. As with coins (I've collected a few medieval silver coins), one recognizes that both are beautiful and equally valuable, but any given viewer tends to prefer one over the other. It's obvious how Klimt's paintings have endured, but his much less-well-known drawings show a deft hand that might be overshadowed by the renown of the paintings. One thing I appreciated about the book's presentation of the drawings is that the editors chose to view Klimt's drawings not just through the lens of subject matter, but through the lens of mood and emotion. While they aren't always convincing in their categorization of this drawing or that, the mere attempt is bold and causes the reader to look at Klimt's drawings in a different, more interesting light.
Klimt's obituary provides great insight into the artist's influences, providing, with hindsight, a great window into his creative world:
What initially struck the viewer as being Klimt was not him, but something with which he was connected. Japan, China, Byzantium and the ancient and modern Orient. Italian and modern English Pre-Raphaelitism. French decorative and magical painting of the Moreau kind, Low Countries mysticism from the region of Khnopff, with colonial goods and gods in between. But if he took something from everything, it was because he was nothing less than an eclectic. He simply used this as nourishment and transformed it into Gustav Klimt.
The end of Klimt is, however, not quite the end of this review. I love works that push me into other stories, and this book is no exception. Here, the never-finished portrait of Ria Munk, who committed suicide after her scandalous affair with Hanns Heinz Ewers has stolen my attention. I will take many things from this book, but this portrait and the story before it, around it's unfinished creation, and it's aftermath (pushing well into the World War 2 era - Ewers was a noted Nazi supporter who was later considered "deviant" by the regime) is the sort of thing that epic myths are made of.
I think I'll be feeling the influence of this book for a long, long time.
Gustav Klimt is dead: Long live Klimt!
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