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- W635791344 abstract "When one reviews the art historical canon referencing gustav klimt, the results are the same: klimt was a very sexual man who painted very sexual women. contemporary critics look at the culture of Vienna at the time, the artist’s personal affairs, his sumptuous use of gold, and brazen poses and exposure of his models to justify the notion that klimt’s work was exclusively prurient1. However, this method of analysis does not account for the many influences on klimt’s style or the positive weight of his personal relationships. klimt was not just a painter of female sexuality, but a devotee of women whose appreciation for the female form was akin to divine adoration. indeed, elements of many of his works evoke respect for the female much like images of the christian Madonna. This respect is perhaps a reflection of the artist’s 1903 trip to ravenna and subsequent exposure to the mosaics there, and/or a mirror of the artist’s loving personal relationships—as klimt did not simply use women for personal pleasure and exploitation. through biography, visual analysis, and iconography, i propose that klimt’s 1905 work, The Three Ages of Life (fig. 1) is a concrete example of the artist’s positive relationship with the female. to support this claim, i will suggest the three ages of life as a modern Madonna and child, illustrating that gustav klimt’s work was not exclusively prurient, nor even a straightforward representation of the cycle of life through the figure of an anonymous woman." @default.
- W635791344 created "2016-06-24" @default.
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- W635791344 date "2012-01-01" @default.
- W635791344 modified "2023-09-23" @default.
- W635791344 title "Golden Halo: Gustav Klimt’s The Three Ages of Life as Modern Madonna" @default.
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