It's rare to see a large collection of gustav klimt's work in Tokyo. Tokyo will hold two exhibitions to celebrate the 150th anniversary of the establishment of diplomatic relations between Japan and Austria in 2019. "Toward a modernist Vienna" at the national new art museum in Tokyo looks back at the development of vienna-based art nouveau, while "gustav klimt: Vienna and Japan 1900" at the Tokyo metropolitan museum of art focuses on an artist who became famous for a series of gold paintings.
Gustav klimt, Judith I, 1901, oil canvas, 84 x 42 cm, art collection, belvedere, Vienna. Gustav klimt: Vienna and Japan, 1900, at the Tokyo museum of art. © BELVEDERE, VIENNA, PHOTO: JOHANNES STOLL
For more than three months, images from klimt's Judith I have filled Tokyo's public Spaces. Like many of his works, "Judith I" has an erotic quality, with her deeply sexy eyes fixed on the viewer, her contented smile on her face and her hand caressing the head of a dead man. The striking painting, painted in oil and gold foil, is on display at the Tokyo metropolitan museum of art from now until July 10. Compartments, the other side of the Tokyo national museum of new posters with 1902 Emily ・ fu logue khalim painted portraits, paintings depicting the 28-year-old Emily with spiral grain, golden square and dot clothes, embody the spirit of free radical, and the spirit form outside the mainstream of the Vienna workshop design art atmosphere.
Gustav klimm, portrait of Emily flog, 1902, oil canvas, 178 x 80 cm. It is now on display at the national new art museum in Tokyo in "towards modernism in Vienna".
Born in 1862, klinm studied architecture at the Vienna school of arts and crafts from 1876 to 1883. In 1897, klimt became one of the founding members of the Viennese secessionist movement, an art group that aims to create an independent art community, promote young artists and bring in the work of foreign artists. During this period, many young artists opposed academic conformism and explored other forms of artistic expression. On the other hand, klimt was influenced by his idol, Hans marquette, an academic historical painter, who initially adopted traditional painting forms. This style was perfected in a series of decorative paintings, including the frescoes at the castle theatre in Vienna, created by klimt with his brother ernst and friend Franz march. But after the deaths of his father and brother, klimt began to seek out his own art nouveau style.
White mountain matsuzai, chrysanthemum maki painting inkstone box, the beginning of the 20th century. This work comes from the same period as the wave of japanism in western art circles.
Many historians point out that Japanese art was first introduced to Vienna by the kremlin and the separatists, and through the sixth separatist exhibition shows Japanese aesthetics. Klimt loves to collect east Asian art, such as woodcut prints, noh masks, porcelain and textile designs. Many of these collections inspired his work, including the portrait of etiel Bloch Bauer I (1907), the portrait of eugenie primavius (1913/14) and the baby (cradle) (1917/18). On the whole, Japanese art is characterized by graphics, decoration, lines and planes. These composition principles have greatly influenced klimt's painting technique and become an indispensable part of his style.
From left to right: gustave klimm, portrait of Eugenia primavius, 1913/1914, oil canvas, 140.0 x 85.0 cm. Gustav klimt: Vienna and Japan, 1900, at the Tokyo museum of art. © TOYOTA MUNICIPAL MUSEUM OF ART | hideyama kikukawa, COURTESAN OF THE OGIVA BROTHEL, ca. 1810-1815. Photo courtesy of CORA TIMKEN BURNETT/WIKIMEDIA COMMONS
Klimt has a soft spot for Lin, one of the traditional Japanese schools of painting. At the end of the 17th century, the nature paintings of two brothers, kuang Lin and gan shan, carried forward the style of Lin school, using bright colors and different decorative techniques such as gold foil. Klinm used gold foil to reinforce decorative elements in his 1907 portrait of etiel Bloch Bauer. The structure and details of the work itself are similar to those of the Japanese lacquerware.
Mitsuhiro kogata (1658-1716). Thor, the god of wind. 17th century. Tokyo national museum. Image courtesy of WIKIMEDIA COMMONS
Around 1909, klimt's artistic creation appeared the transformation, this period work decorative element color is relatively solid. His fascination with Japanese art was far from over, and its influence is still evident in his later works. The two paintings in the exhibition, the portrait of eugenie primaviesi (1913/14) and the baby (cradle) (1917/18), are both later works. Like many of his works, the composition of these two paintings is pyramid-shaped, and the colorful colors and decorative elements in the paintings are implicit but elegant. Japanese fabric designs are used as backdrops for portraits and can be seen in other paintings.
Klimm, gustav, the baby (cradle), 1917/1918, oil canvas, 110.9 X 110.4 cm. National gallery collection, Washington, d.c. donated by otto and Francesca kahlil and supported by the carol and Edwin gaines fullinwyd foundation, 1978.41.1. Gustav klimt: Vienna and Japan, 1900, at the Tokyo museum of art. © NATIONAL GALLERY OF ART/IMAGE COURTESY NATIONAL GALLERY
He died of pneumonia in 1918, shortly after suffering a stroke. He left behind many unfinished works. Throughout his life, klimt never set foot in Japan. Now, the two exhibitions are held simultaneously in Tokyo, the largest ever exhibition of klimt works in Japan. The comprehensiveness of the exhibits also highlights the vitality and breadth of artists' creative methods and styles.
"Gustav klimt: Vienna and Japan 1900" at the Tokyo metropolitan museum of art, through July 10, 2019. "Toward a modernist Vienna" at the national new art museum in Tokyo runs through Aug. 5, 2019.