Models for the painting: Klimt himself, holding his beloved Emilie Floge in his arms. Klimt, who was in effect holding up to the puritanical Viennese bourgeoisie a mirror of their hypocrisy, was rewarded by their enthusiasm. She yields to the man, abandons herself to him, and sexuality shimmers through her clinging gown, which is nonetheless sufficient to escape the censorship that deems carnal embraces taboo. New ground is broken here: Klimt's otherwise dominating woman becomes submissive. Osterreichische Galerie Belvedere, Vienna, Austria. Sir John Everett Millais paintings (246).William McGregor Paxton Paintings (136).Sir Lawrence Alma-Tadema Paintings (245).Frederick Arthur Bridgman Paintings (208).John Frederick Herring Sr Paintings (852).John William Waterhouse Paintings (118).Frederick Carl Frieseke Paintings (185).Charles Courtney Curran Paintings (150).Cassius Marcellus Coolidge Paintings (30).Maurice Brazil Prendergast Paintings (349).Frederick Childe Hassam Paintings (808).Henri de Toulouse-Lautrec Paintings (279).Therefore the couple on the canvas is not merged into a kiss, but remains in a passionate love longing, in agonizing expectation of the kiss. And so instead of the count, Gustav Klimt pictured himself beside her, hiding his face. But during the work on the painting, Klimt fell in love with the girl from the medallion, quite suddenly for himself. He gave the artist a medallion with an image of his beloved and asked to portray them together. According to one version, the painting was ordered to him by a certain count. And secondly, note that Klimt did not paint the kiss itself on the canvas, but rather its expectation, anticipation. First, as in most of his mature works, the artist does not allow the viewer to see the face of the character (Klimt was often blamed for the fact that he was only interested in women after all, he completely stopped drawing men). There are two more interesting details in The Kiss. The garment of the man in The Kiss is drawn with clear squares and rectangles, while the dress of his lover is decorated with ornamentation, in which the softer and "female" circles and spirals predominate. Here Gustav Klimt conveys this sensation, in particular, through the differentiation of male and female. Throughout almost his whole creative career, Klimt tried to convey his vision of the duality of love. Ornaments used by the artist to depict the couple merged in a loving embrace, are not accidental. The use of gold and a variety of ornamental patterns in the works of old masters were reflected in the most productive and bright "Golden Period" of Klimt’s work, in the mature period that gave the world his most famous paintings, including The Kiss. The only exception was Italy, or rather Ravenna, from where Klimt in 1903 brought his passionate Byzantine mosaics. As for the rest of Europe, he seemed to have little interest in it. You can count his trips to Paris on the fingers of one hand. Anyone who has ever been to Vienna, hardly helped the desire to take a souvenir with the image of one of the most famous loving couples in the world. Cups, bookmarks, calendars and postcards, even kitchen utensils and bed linens. You can hardly find a painting as much cited and imitated on a variety of media, sometimes quite unexpected ones, as The Kiss.
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