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Art Nouveau: A Style of Flowing Lines and Organic Forms
To fully appreciate Klimt’s achievement, one must understand the context of Art Nouveau (or Jugendstil, as it was known in German-speaking countries). Flourishing at the turn of the 20th century, Art Nouveau was a reaction against the academic art of the 19th century and the perceived soullessness of industrial production. Artists sought to create a “new art” based on natural forms, characterized by:- Sinuous, flowing lines: Often described as “whiplash” curves, these lines mimic the organic shapes of plants, vines, and waves.
- Emphasis on decoration and pattern: Surface ornamentation was not seen as secondary but as a vital component of the artwork.
- Integration of art forms: Art Nouveau aimed to break down hierarchies between fine art (painting, sculpture) and decorative arts (furniture, graphic design, architecture).
- Stylization over realism: Forms were often flattened and stylized, prioritizing aesthetic harmony and symbolic meaning over strict naturalistic representation.
Klimt’s Golden Phase: Byzantine Splendor Meets Modern Sensibility
Klimt’s fascination with gold leaf wasn’t merely a stylistic whim; it marked a distinct period in his career, often referred to as his “Golden Phase,” roughly spanning from the late 1890s to around 1909. This phase was significantly influenced by a trip Klimt took to Ravenna, Italy, in 1903. There, he encountered the breathtaking Byzantine mosaics of the Basilica di San Vitale. The flat, shimmering gold backgrounds and richly patterned robes of the figures in these ancient artworks left an indelible mark on him. He saw how gold could transcend mere representation, suggesting a spiritual or divine dimension. It allowed for a departure from naturalism, flattening space and emphasizing pattern – ideas already present in Art Nouveau but amplified by the Byzantine example. Furthermore, the use of gold connected his work to a long tradition of precious materials in art, lending it an aura of timelessness and value. Klimt skillfully combined this ancient influence with modern psychological themes and the decorative sensibilities of Art Nouveau, creating a unique synthesis.The Kiss: An Embrace Encased in Gold
“The Kiss” (painted 1907-1908) is arguably the zenith of this Golden Phase. It depicts a couple locked in a passionate embrace, kneeling on a small patch of flowery meadow that seems to end abruptly at a golden abyss. The figures are enveloped in richly patterned robes adorned with geometric and organic shapes, heavily embellished with gold leaf. The man’s robe features strong, rectangular blocks, often interpreted as masculine symbols, while the woman’s gown flows with circular and floral motifs, seen as feminine. Their bodies seem almost to merge, contained within a golden aura that isolates them from the outside world. Only their faces, hands, and feet are rendered with more traditional, painterly naturalism, drawing the viewer’s focus to the human element within the overwhelming ornamentation. The precise identity of the figures remains ambiguous – they could be Klimt and his companion Emilie Flöge, or simply archetypal lovers – adding to the universal appeal of the work. The composition itself reflects Art Nouveau principles. The figures form a solid, almost architectural block, yet the contours and patterns swirl with organic energy. The flattened perspective, heavily reliant on pattern rather than chiaroscuro to define form, is characteristic of both Art Nouveau and the Byzantine mosaics that inspired Klimt.Techniques: Applying and Integrating the Gold
Klimt’s application of gold leaf was sophisticated. He didn’t simply paint it on; he employed techniques similar to those used by medieval manuscript illuminators and Byzantine mosaicists, adapted for oil painting on canvas. This involved applying genuine gold leaf (thinly hammered sheets of gold) and sometimes silver and platinum leaf over a binding agent. He layered the leaf, sometimes applying paint over it or scratching into it (a technique called sgraffito) to create texture and pattern. In “The Kiss,” the gold isn’t uniform. Some areas are smooth and reflective, catching the light directly. Others are textured, perhaps mixed with gesso or paint, creating a duller, richer surface. Klimt masterfully controls the reflectivity and texture of the gold to define shapes, suggest richness of fabric, and create a shimmering, otherworldly atmosphere. The gold functions not just as color but as light itself, emanating from the figures and their garments.Verified Information: Klimt used genuine gold leaf in “The Kiss,” applying it in thin sheets over an adhesive layer on the canvas. He combined this with traditional oil paint, and sometimes silver and platinum leaf. The varied textures were achieved through layering, incising, and possibly mixing gold powder with binders. This meticulous process contributed significantly to the painting’s unique luminosity and decorative richness.
Gold as an Art Nouveau Element
How does this lavish use of gold fit within the Art Nouveau framework? While gold leaf itself isn’t exclusive to the style, Klimt’s integration of it aligns perfectly with Art Nouveau’s core tenets:- Emphasis on Decoration: The gold is fundamentally decorative, transforming the robes into elaborate tapestries of pattern. It prioritizes surface beauty and intricate design, a hallmark of the style.
- Flattened Space: The broad, reflective areas of gold deny traditional perspective. They flatten the figures against the background, turning them into decorative elements within a larger composition, much like figures in Japanese prints which also influenced Art Nouveau.
- Symbolic Value: Art Nouveau often carried symbolic weight. The gold elevates the embrace, suggesting its sacredness, intensity, or timeless nature. It moves the scene beyond a simple depiction of affection into a more universal, almost spiritual realm.
- Integration of Materials: Klimt seamlessly blends the applied gold leaf with oil paint. The painted flowers, faces, and hands exist alongside, and are interwoven with, the geometric and organic patterns rendered in gold, silver, and paint. This fusion of materials serves the overall aesthetic vision.
