Hans Makart (1884)

Hans Makart (May 28, 1840 – October 3, 1884) was a 19th century Austrian academic history painter, designer, and decorator; most well known for his influence on Gustav Klimt and other Austrian artists, but in his own era considered an important artist himself and was a celebrity figure in the high culture of Vienna, attended with almost cult-like adulation.

Life[link]

Makart was the son of a chamberlain at the Mirabell Palace, born in the former residence of the prince-archbishops of Salzburg. Initially, he received his training in painting at the Vienna Academy between 1850 and 1851 from Johann Fischbach. While in the Academy, German art was under the rule of a classicism, which was entirely intellectual and academic—clear and precise drawing, sculpturesque modelling, and pictorial erudition were esteemed above all. Makart, who was a poor draughtsman, but who had a passionate and sensual love of color, was impatient to escape the routine of art school drawing. For his fortune, he was found by his instructors to be devoid of all talent and forced to leave the Vienna Academy.

He went to Munich, and after two years of independent study attracted the attention of Karl Theodor von Piloty, under whose guidance, between 1861 and 1865 he developed his painting style. During these years, Makart also travelled to London, Paris and Rome to further his studies. The first picture he painted under Piloty, Lavoisier in Prison, though it was considered timid and conventional, attracted attention by its sense of color.

In his next work, The Knight and the Water Nymphs, he first displayed the decorative qualities to which he afterwards sacrificed everything else in his work. His fame became established in the next year, with two works, Modern Amoretti and The Plague in Florence. His painting Romeo and Juliet was soon after bought by the Austrian emperor for the Vienna Museum, and Makart was invited to come to Vienna by the aristocracy.

The prince Von Hohenlohe provided Makart with an old foundry at the Gusshausstraße 25 to use as a studio. He gradually turned it into an impressive place full of sculptures, flowers, musical instruments, requisites and jewellery that he used to create classical settings for his portraits, mainly of women. Eventually his studio looked like a salon and became a social meeting point in Vienna. Cosima Wagner described it as a "wonder of decorative beauty, a sublime lumber-room". His luxurious studio served as a model for a great many upper middle-class living rooms.

The opulent, semi-public spaces of the Makart atelier were the scene of a recurring rendezvous between the artist and his public. Makart became the mediator between different levels of society: he created a socially ambiguous sphere in which nobility and bourgeoisie could encounter one another in mutual veneration of the master, and aestheticized the burgeoning self-awareness of the bourgeoisie by means of historical models drawn from the world of the aristocracy. In this way, an artist like Makart lived out the image that high society had created of him.

Makart became the acknowledged leader of the artistic life of the Vienna, which in the 1870s passed through a period of feverish activity, the chief results of which are the sumptuously decorated public buildings of the Ringstraße. He not only practised painting, but was also an interior designer, costume designer, furniture designer, and decorator, and his work decorated most of the public spaces of the era. His work engendered the term "Makartstil", or "Makart style", which completely characterized the era.

In 1879, Makart had designed a pageant organised to celebrate the Silver Wedding Anniversary of the Imperial couple, emperor Franz Josef and his wife Elisabeth of Bavaria —he designed, single-handed, the costumes, scenic setting, and triumphal cars. This became known as the "Makart-parade", and had given the people of Vienna the chance to dress up in historical costumes and be transported back into the past for a few hours. At the head of the parade was a float for artists, led by Makart on a white horse. His festivals became an institution in Vienna which lasted up until the 1960s. In the same year as the first parade he became a Professor at the Vienna Academy.

Makart's painting The Entry of Charles V into Antwerp caused some controversy, because Charles V was depicted arriving in a procession surrounded by nude virgins; the offense was the mistaken idea that the nudes had no place in the modern scene. In the United States, the painting fell under the proscription of Anthony Comstock, which secured Makart's fame there. The American public desired at once to see what Comstock was persecuting, so they could tell whether he was acting correctly or in error.

In 1882, emperor Franz Josef ordered the building of the Villa Hermes at Lainz (near Vienna) for his empress and specified the bedroom decoration to be inspired from Shakespeare's Midsummernight's Dream. Makart designed for him a fascinating dreamworld that still exists at the Villa Hermes as a large painting (1882). Unfortunately his design was never executed after his early death in 1884. His collection of antiques and art consisted of 1083 pieces and was put up for auction by art-dealer H.O. Miethke.

Salzburg's Makart Square, or Makartplatz, was named after the painter.

Art[link]

The "Makartstil", which determined the culture of an entire era in Vienna, was an aestheticism the likes of which hadn't been seen before him and has not been replicated to this day. Called the "magician of colors", he painted in brilliant colors and fluid forms, which placed the design and the aesthetic of the work before all else. Often to heighten the strength of his colors he introduced asphalt into his paint, which has led to some deterioration in his paintings over the years. The paintings were usually large-scale and theatrical productions of historical motifs. Works such as The Papal Election reveal Makart's skill in the bold use of color to convey drama as well as his later developed virtuoso draughtsmanship.

Makart was deeply interested in the interaction of all the visual arts and thus in the implementation of the idea of the "total work of art" which dominated discussions on the arts in the 19th century. This was the ideal which he realised in magnificent festivities which he organised and centred around himself. The 1879 Makart-parade was the culmination of these endeavors. Makart was also a friend of the composer Richard Wagner, and it can be argued that the two developed the same concepts and stylistic tendencies in their differing art forms: a concern for embedding motifs of history and mythology in a framework of aestheticism, making their respective works historical pageants.

Makart's work, like those of other academic artist's of the time, consisted of allegorical painting and history painting as seen in Catherina Carnaro, Dianas Hunt, The Entry of Charles V into Antwerp, Abundantia, Spring, Summer, The Death of Cleopatra, The Five Senses, and Bacchus and Ariadne. He was considered the Austrian rival to the French William-Adolphe Bouguereau. Within Austria, his nearest competitor was considered to be Hans Canon, and he was associated with the sculptor Viktor Tilgner, who travelled with him to Italy.

Influence[link]

Aside from his clear influence on the academic art and high culture of Vienna at the time, Makart also influenced a range of painters and decorators who followed him, including many who rebelled against his style—the most notable being Gustav Klimt, who is said to have idolized him. Klimt's early style is based in historicism and has clear similarities to Makart's paintings. The entire decorative focus of Jugendstil, the Austrian Art Nouveau of which Klimt was a part, arose in an environment in which Makart had put the decorative aspects of art in the forefront. Some have also suggested that primacy of sexual symbolism in Jugendstil artworks also have an influence from the sensuality pushed in many of Makart's paintings.

External links[link]

Wikimedia Commons has media related to: Hans Makart

• Makart page at Vienna's Historisches Museum Wien
• Works by Hans Makart at the Art Renewal Center
• Article on the Ringstraße era
• Makart's entry in the World's Columbian Exposition of 1893

Los Cinco is also the name of the founders of the Mexican American Youth Organization.

Los Cinco (in English: "The Five") is an unofficial collective of Latin American composers living and working in Los Angeles. These composers include: Daniel Catán, Miguel del Águila, Aurelio de la Vega, Enrique González-Medina, and Carlos Rodríquez.

Meant to draw a comparison between this collective and a group of avant-garde Parisian composers active in the 1920s known as "Les Six", the term "Los Cinco" was originally coined by Sean Bradley, an American conductor. Bradley first presented these composers as a collective in public performance, and the label Los Cinco first appeared in print in a Los Angeles Times review dated August 3, 2004.

The music by these composers shares "...certain common features, including a vibrancy of ideas, no fear of sensuality or humor, and an infectious passion." (Josef Woodward, Los Angeles Times)

External links[link]

• L.A. Times article where the term "Los Cinco" first appears in print
• More on the web about Sean Bradley
• More on the web about Daniel Catán
• More on the web about Miguel del Águila
• More on the web about Aurelio de la Vega
• More on the web about Enrique González-Medina
• More on the web about Carlos Rodriguez

Portrait of Leopold Koželuh by W. Ridley

Birth house of Leopold Kozeluch in Velvary

Leopold Kozeluch (Czech pronunciation: [ˈlɛopolt ˈkoʒɛlux], born Jan Antonín Koželuh, alternatively also Leopold Koželuh, Leopold Kotzeluch) (26 June 1747 – 7 May 1818) was a Czech composer and teacher of classical music. He was born in the town of Velvary, in Bohemia (present-day Czech Republic).

Life[link]

Kozeluch was the son of the shoemaker Antonín Bartholomäus Koželuh. The composer Jan Antonín Koželuh was his cousin and for a while his teacher. Later, the pianist Katharina Kozeluch was his daughter. To avoid confusion with his cousin, he changed his name in 1774. His teachers in the 1770s also included František Xaver Dušek.

In 1771 he contributed his first work, a ballet, to the National Theater in Prague, and in the coming seasons wrote 25 works for them. In 1778 he went to Vienna, and was likely for a short while a student of Johann Georg Albrechtsberger.

Already after this short while, Kozeluch had also entered the ranks of acclaimed pianists. The imperial court gave him the position that had belonged to Georg Christoph Wagenseil as teacher to the Archduchess Elisabeth, the daughter of Maria Theresa of Austria. He was offered Wolfgang Mozart's position in Salzburg when Mozart left that office in 1781, but refused. He did however accept the position of court composer in Prague that Mozart's death left open in 1792.

Kozeluch also joined Freemasonry around the 1790s, in a lodge in Vienna. He experienced during his lifetime acceptance of his work in all of Europe; in his last years however the criticism that he was too prolific became heard more often. Criticisms of his work by Mozart and Beethoven are still remembered. Many works of his point in the direction of musical romanticism, while there is a deliberately reactionary thread running through other works as shown by his continuing use of the term "trio sonata" to describe his piano trios.

Works[link]

Kozeluch left around 400 compositions. Among these there are about thirty symphonies, twenty-two piano concertos, including a concerto for piano four-hands, arguably one of the best examples of this rare genre, two clarinet concertos, twenty-four violin sonatas, sixty-three piano trios, six string quartets, two oratorios (one of which, Moses in Ägypten, has recently been produced and recorded), nine cantatas and various liturgical works. Among his music there are also operas and works for ballet, which-- with the exception of one opera -- have yet to be heard in recent years. Numerous arrangements by him of Scottish songs for the Edinburgh collector George Thomson were popular, and some of these have also been recorded.

His works are currently cataloged using Postolka numbers, after the work of the musicologist Milan Poštolka.

Symphonies & Overtures

• P I: 1 \ Symphony in D major "L'Arlechino"
• P I: 2 \ Symphony in C major
• P I: 3 \ Symphony in D major Op. 22 No. 1
• P I: 4 \ Symphony in F major Op. 22 No. 2
• P I: 5 \ Symphony in G minor Op. 22 No. 3
• P I: 6 \ Symphony in C major Op. 24 No. 1
• P I: 7 \ Symphony in A major Op. 24 No. 2
• P I: 8 \ Symphony in G major Op. 24 No. 3
• P I: 9 \ Symphony in C major
• P I:10 \ Symphony in A major "A la Française"
• P I:11 \ Symphony in B flat major "L'irresoluto"
• P I:A1 \ Symphony in A major
• P I:D1 \ Symphony in D major (lost)
• P I:D2 \ Symphony in D major
• P I:D3 \ Symphony in D major
• P I:E1 \ Symphony in E major
• P I:F1 \ Symphony in F major
• P I:G1 \ Symphony in G major
• P II:1 \ Sinfonia concertante in E flat major
• P II:2 \ Sinfonia concertante in C major
• P III:1 \ Overture in G major
• P III:1 \ Overture Op. 9 in G major
• P III:2 \ Overture in D major

Concertos

• P IV: 1 \ Keyboard Concerto Op. 12 in F major
• P IV: 2 \ Keyboard Concerto Op. 13 in B flat major
• P IV: 3 \ Keyboard Concerto Op. 11 in G major
• P IV: 4 \ Keyboard Concerto Op. 16 in A major
• P IV: 5 \ Keyboard Concerto Op. 15 in E flat major
• P IV: 6 \ Keyboard Concerto in C major
• P IV: 7 \ Keyboard Concerto Op. 25 in D major
• P IV: 8 \ Concerto for keyboard 4 hands in B flat major
• P IV: 9 \ Harpsichord Concerto in D major
• P IV:10 \ Harpsichord Concerto in D major
• P IV:11 \ Rondo Concerto for harpsichord in E flat major
• P IV:12 \ Harpsichord Concerto in E major
• P IV:13 \ Harpsichord Concerto in F major
• P IV:14 \ Keyboard Concerto in F major
• P IV:15 \ Keyboard Concerto Op. 36 in C major
• P IV:16 \ Keyboard Concerto Op. 45 in E flat major
• P IV:17 \ Piano Concerto in C major
• P IV:18 \ Piano Concerto in C major
• P IV:19 \ Fantasia for piano & orchestra in D minor
• P IV:20 \ Harpsichord Concerto in E major
• P IV:D1 \ Harpsichord Concerto in D major
• P IV:D2 \ Piano Concerto in D major
• P IV:F1 \ Harpsichord Concerto in F major
• P V: 1 \ Clarinet Concerto in E flat major
• P V: 2 \ Clarinet Concerto in E flat major
• P V: 3 \ Sonata for clarinet & orchestra in E flat major
• P V:B1 \ Bassoon Concerto in B flat major
• P V:C1 \ Bassoon Concerto in C major

Serenades & Parthias

• P VI: 1 \ Serenade Op. 11 No. 1 in D major
• P VI: 2 \ Serenade Op. 11 No. 2 in E flat major
• P VI: 3 \ Parthia in F major
• P VI: 4 \ Divertimento for wind quintet in D major
• P VI: 5 \ Divertimento for wind quintet in D major
• P VI: 6 \ Notturno in D major
• P VI: 7 \ Divertimento for wind quintet in E flat major
• P VI: 8 \ Parthia in F major
• P VI: 9 \ Divertimento for piano & winds in E flat major
• P VI:10 \ Divertimento for piano & winds in E flat major
• P VI:B1 \ Parthia a la Camera in B flat major
• P VI:B2 \ Parthia a la Camera in B flat major
• P VI:B3 \ Parthia a la Camera in B flat major
• P VI:c1 \ Parthia a la Camera in C minor
• P VI:d1 \ Parthia a la Camera in D minor
• P VI:D1 \ Wind Symphony in D major
• P VI:d2 \ Parthia a la Camera in D minor
• P VI:Es1 \ Cassation in E flat major
• P VI:Es2 \ Wind quintet in E flat major
• P VI:Es3 \ Parthia in E flat major
• P VI:F1 \ Parthia in F major (lost)

Dances & Marches

• P VII:1 \ 6 Contredanses
• P VII:2 \ 12 German Dances
• P VII:3 \ 15 German Dances
• P VII:4 \ 15 German Dances
• P VII:5 \ 12 German Dances
• P VII:6 \ March for Wiener Freykorps in C major

String Quartets

• P VIII:1 \ String Quartet Op. 32 No. 1 in B flat major
• P VIII:2 \ String Quartet Op. 32 No. 2 in G major
• P VIII:3 \ String Quartet Op. 32 No. 3 in E flat major
• P VIII:4 \ String Quartet Op. 33 No. 1 in C major
• P VIII:5 \ String Quartet Op. 33 No. 2 in A major
• P VIII:6 \ String Quartet Op. 33 No. 3 in F major

Keyboard Trios

• P IX: 1 \ Piano Trio Op. 3 No. 1 in D major
• P IX: 2 \ Piano Trio Op. 3 No. 2 in F major
• P IX: 3 \ Piano Trio Op. 3 No. 3 in E flat major
• P IX: 4 \ Piano Trio Op. 6 No. 1 in C major
• P IX: 5 \ Piano Trio Op. 6 No. 2 in G major
• P IX: 6 \ Piano Trio Op. 6 No. 3 in B flat major
• P IX: 7 \ Piano Trio Op. 21 No. 1 in C major
• P IX: 8 \ Piano Trio Op. 21 No. 2 in A major
• P IX: 9 \ Piano Trio Op. 21 No. 3 in E flat major
• P IX:10 \ Piano Trio Op. 23 No. 1 in G major
• P IX:11 \ Piano Trio Op. 23 No. 2 in C minor
• P IX:12 \ Piano Trio Op. 23 No. 3 in F major
• P IX:13 \ Piano Trio Op. 27 No. 1 in B flat major
• P IX:14 \ Piano Trio Op. 27 No. 2 in A major
• P IX:15 \ Piano Trio Op. 27 No. 3 in G minor
• P IX:16 \ Piano Trio Op. 28 No. 1 in E flat major
• P IX:17 \ Piano Trio Op. 28 No. 2 in D major
• P IX:18 \ Piano Trio Op. 28 No. 3 in E minor
• P IX:19 \ Piano Trio in G major
• P IX:20 \ Piano Trio in E flat major
• P IX:21 \ Piano Trio in C major
• P IX:22 \ Piano Trio in E flat major
• P IX:23 \ Piano Trio in F major
• P IX:24 \ Piano Trio Op. 34 No. 1 in B flat major
• P IX:25 \ Piano Trio Op. 34 No. 2 in G major
• P IX:26 \ Piano Trio Op. 34 No. 3 in C major
• P IX:27 \ Piano Trio Op. 36 in C major
• P IX:28 \ Piano Trio Op. 37 No. 1 in D major
• P IX:29 \ Piano Trio Op. 37 No. 2 in F major
• P IX:30 \ Piano Trio Op. 37 No. 3 in G major
• P IX:31 \ Piano Trio Op. 40 No. 1 in F major
• P IX:32 \ Piano Trio Op. 40 No. 2 in C major
• P IX:33 \ Piano Trio Op. 40 No. 3 in E minor
• P IX:34 \ Piano Trio Op. 41 No. 1 in B flat major
• P IX:35 \ Piano Trio Op. 41 No. 2 in D major
• P IX:36 \ Piano Trio Op. 41 No. 3 in G major
• P IX:37 \ Piano Trio Op. 44 No. 1 in F major
• P IX:38 \ Piano Trio Op. 44 No. 2 in G major
• P IX:39 \ Piano Trio Op. 44 No. 3 in D major
• P IX:40 \ Piano Trio Op. 46 No. 1 in G major
• P IX:41 \ Piano Trio Op. 46 No. 2 in B flat major
• P IX:42 \ Piano Trio Op. 46 No. 3 in F major
• P IX:43 \ Piano Trio Op. 47 No. 1 in C major
• P IX:44 \ Piano Trio Op. 47 No. 2 in A major
• P IX:45 \ Piano Trio Op. 47 No. 3 in G minor
• P IX:46 \ Piano Trio Op. 48 No. 1 in E flat major
• P IX:47 \ Piano Trio Op. 48 No. 2 in A major
• P IX:48 \ Piano Trio Op. 48 No. 3 in B flat major
• P IX:49 \ Piano Trio Op. 49 No. 1 in D major
• P IX:50 \ Piano Trio Op. 49 No. 2 in E flat major
• P IX:51 \ Piano Trio Op. 49 No. 3 in C major
• P IX:52 \ Piano Trio Op. 50 No. 1 in B flat major
• P IX:53 \ Piano Trio Op. 50 No. 2 in D major
• P IX:54 \ Piano Trio Op. 50 No. 3 in E flat major
• P IX:55 \ Piano Trio Op. 63 No. 1 in B flat major
• P IX:56 \ Piano Trio Op. 63 No. 2 in F major
• P IX:57 \ Piano Trio Op. 63 No. 3 in C major
• P IX:58 \ Piano Trio Op. 64 No. 1 in D major
• P IX:59 \ Piano Trio Op. 64 No. 2 in G major
• P IX:60 \ Piano Trio Op. 64 No. 3 in E flat major
• P IX:61 \ Piano Trio Op. 52 No. 1 in D major
• P IX:62 \ Piano Trio Op. 52 No. 2 in C major
• P IX:63 \ Piano Trio Op. 52 No. 3 in B flat major
• P IX:A1 \ Piano Trio in A major
• P IX:D1 \ Piano Trio in D major
• P IX:F1 \ Piano Trio in F major
• P IX:G1 \ Piano Trio in G major

Keyboard Sonatas

• P X: 1 \ Keyboard Sonata with violin in D major
• P X: 2 \ Keyboard Sonata with violin in F major
• P X: 3 \ Keyboard Sonata with violin in E flat major
• P X: 4 \ Keyboard Sonata with violin Op. 10 No. 1 in E flat major
• P X: 5 \ Keyboard Sonata with violin Op. 10 No. 2 in C major
• P X: 6 \ Keyboard Sonata with violin Op. 17 No. 1 in F minor
• P X: 7 \ Keyboard Sonata with violin Op. 17 No. 2 in A major
• P X: 8 \ Keyboard Sonata with violin Op. 17 No. 3 in E flat major
• P X: 9 \ Keyboard Sonata with violin in A major
• P X:10 \ Keyboard Sonata with violin Op. 20 No. 1 in D major (lost)
• P X:11 \ Keyboard Sonata with violin Op. 20 No. 2 in C major (lost)
• P X:12 \ Keyboard Sonata with violin Op. 20 No. 3 in G major (lost)
• P X:13 \ Keyboard Sonata with violin Op. 18 No. 1 in G minor
• P X:14 \ Keyboard Sonata with violin Op. 18 No. 2 in C major
• P X:15 \ Keyboard Sonata with violin Op. 18 No. 3 in A flat major
• P X:16 \ Keyboard Sonata with violin Op. 16 No. 1 in G major
• P X:17 \ Keyboard Sonata with violin Op. 16 No. 2 in C minor
• P X:18 \ Keyboard Sonata with violin Op. 16 No. 3 in F major
• P X:19 \ Keyboard Sonata with violin Op. 23 No. 1 in E major
• P X:20 \ Keyboard Sonata with violin Op. 23 No. 2 in G major
• P X:21 \ Keyboard Sonata with violin Op. 23 No. 3 in D major
• P X:22 \ Keyboard Sonata with violin Op. 23 No. 4 in B flat major
• P X:23 \ Keyboard Sonata with violin Op. 23 No. 5 in F minor
• P X:24 \ Keyboard Sonata with violin Op. 23 No. 6 in G major
• P XI:1 \ Sonata for keyboard 4 hands Op. 4 in F major
• P XI:2 \ Sonata for keyboard 4 hands Op. 8 No. 3 in B flat major
• P XI:3 \ Sonata for keyboard 4 hands Op. 19 in F major
• P XI:4 \ Sonata for keyboard 4 hands Op. 29 in B flat major
• P XI:5 \ Sonata for keyboard 4 hands Op. 12 No. 1 in C major
• P XI:6 \ Sonata for keyboard 4 hands Op. 12 No. 2 in F major
• P XI:7 \ Sonata for keyboard 4 hands Op. 12 No. 3 in D major
• P XII: 1 \ Harpsichord Sonata in F major
• P XII: 2 \ Keyboard Sonata in A major
• P XII: 3 \ Keyboard Sonata Op. 13 No. 1 in E flat major
• P XII: 4 \ Keyboard Sonata in F major
• P XII: 5 \ Keyboard Sonata in C major
• P XII: 6 \ Keyboard Sonata Op. 13 No. 3 in E minor
• P XII: 7 \ Keyboard Sonata Op. 13 No. 2 in G major
• P XII: 8 \ Keyboard Sonata Op. 1 No. 1 in F major
• P XII: 9 \ Keyboard Sonata Op. 1 No. 2 in E flat major
• P XII:10 \ Keyboard Sonata Op. 1 No. 3 in D major
• P XII:11 \ Keyboard Sonata Op. 2 No. 1 in B flat major
• P XII:12 \ Keyboard Sonata Op. 2 No. 2 in A major
• P XII:13 \ Keyboard Sonata Op. 2 No. 3 in C minor
• P XII:14 \ Keyboard Sonata in D major
• P XII:15 \ Keyboard Sonata Op. 8 No. 1 in E flat major
• P XII:16 \ Keyboard Sonata Op. 8 No. 2 in C major
• P XII:17 \ Keyboard Sonata Op. 15 No. 1 in G minor
• P XII:18 \ Keyboard Sonata Op. 15 No. 2 in C major
• P XII:19 \ Keyboard Sonata Op. 15 No. 3 in A flat major
• P XII:20 \ Keyboard Sonata Op. 17 No. 1 in F minor
• P XII:21 \ Keyboard Sonata Op. 17 No. 2 in A major
• P XII:22 \ Keyboard Sonata Op. 17 No. 3 in E flat major
• P XII:23 \ Keyboard Sonata Op. 20 No. 1 in F major
• P XII:24 \ Keyboard Sonata Op. 20 No. 2 in C major
• P XII:25 \ Keyboard Sonata Op. 20 No. 3 in D minor
• P XII:26 \ Keyboard Sonata Op. 26 No. 1 in D major
• P XII:27 \ Keyboard Sonata Op. 26 No. 2 in A minor
• P XII:28 \ Keyboard Sonata Op. 26 No. 3 in E flat major
• P XII:29 \ Keyboard Sonata Op. 30 No. 1 in B flat major
• P XII:30 \ Keyboard Sonata Op. 30 No. 2 in G major
• P XII:31 \ Keyboard Sonata Op. 30 No. 3 in C minor
• P XII:32 \ Keyboard Sonata Op. 35 No. 1 in F major
• P XII:33 \ Keyboard Sonata Op. 35 No. 2 in A major
• P XII:34 \ Keyboard Sonata Op. 35 No. 3 in G minor
• P XII:35 \ Keyboard Sonata Op. 38 No. 1 in E flat major
• P XII:36 \ Keyboard Sonata Op. 38 No. 2 in C major
• P XII:37 \ Keyboard Sonata Op. 38 No. 3 in F minor
• P XII:38 \ Piano Sonata Op. 51 No. 1 in E flat major
• P XII:39 \ Piano Sonata Op. 51 No. 2 in C minor
• P XII:40 \ Piano Sonata Op. 51 No. 3 in D minor
• P XII:41 \ Harpsichord Sonata in C major
• P XII:42 \ Harpsichord Sonata in E flat major
• P XII:43 \ Piano Sonata in B flat major (lost)
• P XII:44 \ Piano Sonata in A major (lost)
• P XII:45 \ Piano Sonata in E minor (lost)
• P XII:46 \ Keyboard Sonata in G major (lost)
• P XII:47 \ Keyboard Sonata in F major (lost)
• P XII:48 \ Keyboard Sonata in E flat major (lost)
• P XII:49 \ Piano Sonata in G major (lost)
• P XII:50 \ Piano Sonata in G major
• P XII:C1 \ Harpsichord Sonata in C major
• P XII:D1 \ Harpsichord Sonata in D major
• P XII:Es1 \ Harpsichord Sonata in E flat major
• P XII:Es2 \ Harpsichord Sonata in E flat major
• P XII:G1 \ Harpsichord Sonata in G major
• P XII:G2 \ Harpsichord Sonata in G major

Keyboard Pieces

• P XIII: 1 \ Andante & March for harpsichord
• P XIII: 2 \ La Chasse for keyboard Op. 5 in B flat major
• P XIII: 3 \ Caprice for piano Op. 45 No. 1 in E flat major
• P XIII: 4 \ Caprice for piano Op. 45 No. 2 in B flat major
• P XIII: 5 \ Caprice for piano Op. 45 No. 3 in C minor
• P XIII: 6 \ Piece for piano Op. 43 No. 1 in A minor
• P XIII: 7 \ Piece for piano Op. 43 No. 2 in C major
• P XIII: 8 \ Piece for piano Op. 43 No. 3 in C major
• P XIII: 9 \ Piece for piano Op. 43 No. 4 in C major
• P XIII:10 \ Piece for piano Op. 43 No. 5 in F major
• P XIII:11 \ Piece for piano Op. 43 No. 6 in G major
• P XIII:12 \ Piece for piano Op. 43 No. 7 in G major
• P XIII:13 \ Piece for piano Op. 43 No. 8 in C major
• P XIII:14 \ Piece for piano Op. 43 No. 9 in A minor
• P XIII:15 \ Piece for piano Op. 43 No. 10 in B minor
• P XIII:16 \ Piece for piano Op. 43 No. 11 in D minor
• P XIII:17 \ Piece for piano Op. 43 No. 12 in E flat major
• P XIII:a1 \ Sicilienne for keyboard in A minor
• P XIII:C1 \ Bernoise for keyboard in C major
• P XIII:F1 \ La chasse au sanglier for keyboard in F major
• P XIII:g1 \ Pastorale for keyboard in G minor
• P XIII:G1 \ Romance for keyboard in G major
• P XIII:G2 \ Air cosaque for keyboard in G major
• P XIV: 1 \ 13 Menuets for harpsichord
• P XIV: 2 \ Menuetto angloise for harpsichord in F major
• P XIV: 3 \ Polonese for harpsichord in C major
• P XIV: 4 \ 9 Menuets for harpsichord
• P XIV: 5 \ 6 Contredanses for keyboard
• P XIV: 6 \ Wachtel Menuett for keyboard in F sharp minor
• P XIV: 7 \ 12 Menuets for keyboard
• P XIV: 8 \ 15 German Dances for keyboard
• P XIV: 9 \ 15 German Dances & 6 Ecossaises for piano
• P XIV:10 \ Marsch für das Corps der Freywilligen des Handelstandes von Wien in C major
• P XIV:11 \ 12 German Dances for piano
• P XIV:C1 \ 12 Ländler for keyboard in C major
• P XIV:D1 \ 10 German Dances & 12 Ländler for piano
• P XIV:Es1 \ 10 Ländler & Coda for piano in E flat major
• P XIV:F1 \ 7 Polonaises for piano

Other Chamber Music

• P XV:1 \ Violin Duet in D major
• P XV:2 \ Violin Duet in B flat major
• P XV:3 \ Violin Duet in G major
• P XV:4 \ Trio for flute, violin & cello in G major
• P XV:5 \ Hunting Fanfare for 3 horns in C major
• P XV:6 \ Duet for violin & viola in D major
• P XV:7 \ Duet for flute & cello in E minor
• P XV:8 \ Duet for flute & cello in C major
• P XV:9 \ Duet for flute & cello in D major

Oratorios

• P XVI:1 \ Moisè in Egitto
• P XVI:2 \ La Giuditta (lost)

Choral Pieces & Part-songs

• P XVII:1 \ Chorus for La Galatea P XIX:7 in C major
• P XVIII:1 \ Notturno Op. 42 No. 1 in C minor
• P XVIII:2 \ Notturno Op. 42 No. 2 in G minor
• P XVIII:3 \ Notturno Op. 42 No. 3 in B flat major
• P XVIII:4 \ Notturno Op. 42 No. 4 in D minor
• P XVIII:5 \ Notturno Op. 42 No. 5 in E flat major
• P XVIII:6 \ Notturno Op. 42 No. 6 in C major
• P XVIII:B1 \ Quartet: Dum ti dum in B flat major

Secular Cantatas & Arias

• P XIX:1 \ Denis Klage auf den Todt Marien Theresien
• P XIX:2 \ Cantata Op. 7: Quanto è mai tormentosa
• P XIX:3 \ Cantata Op. 11: Joseph, der Menschheit Segen
• P XIX:4 \ Cantata to Maria Theresia Paradis
• P XIX:5 \ Cantata Op. 8: Chloe, siehst du nicht voll grausen
• P XIX:6 \ Cantata for the Coronation of Leopold II
• P XIX:7 \ La Galatea (lost)
• P XIX:8 \ In un fiero contrasto
• P XIX:9 \ Cantata pastorale per la Natività di Nostro Signor Gesù Christo (lost)
• P XX:1 \ Caro bene in E flat major
• P XX:2 \ Misero me! che veggo in E flat major
• P XX:3 \ Se mai senti in G major

Songs

• P XXI: 1 \ 15 Lieder
• P XXI: 2 \ 12 Lieder
• P XXI: 3 \ The happy Pair in A flat major
• P XXI: 4 \ 12 Ariette Op. 31
• P XXI: 5 \ De l'arbre ces fruits in G major
• P XXI: 6 \ Marschlied für das Wiener Freycorps in C major
• P XXI: 7 \ Marschlied für das akademische Bürgercorps in B flat major
• P XXI: 8 \ 3 Airs François
• P XXI: 9 \ Hört! Maurer, auf der Weisheit lehren in A major
• P XXI:10 \ In questa tomba oscura in C minor
• P XXI:11 \ 12 Canzonette
• P XXI:12 \ Mein Mädchen in D major
• P XXI:13 \ Des Kriegers Abschied in C major
• P XXI:14 \ Leiser nannt' ich deinen Namen in C minor
• P XXI:15 \ Let the declining damask rose in G major
• P XXI:C1 \ Aufruf an die Böhmen in C major
• P XXI:C2 \ 27 Solfeggi
• P XXII:1 \ Scottish, Irish & Welsh Songs
• P XXII:2 \ Welsh Songs
• P XXII:A1 \ Scottish Melodies arranged for keyboard

Operas

• P XXIII:1 \ Le Muzet (lost)
• P XXIII:2 \ Debora e Sisara (lost)
• P XXIII:3 \ Didone abbandonata (lost)
• P XXIII:4 \ Télémaque dans l'île de Calypso (opera) (lost)
• P XXIII:5 \ Judith und Holofernes (lost)
• P XXIII:6 \ Gustav Vasa (lost)

Ballets

• P XXIV:1 \ Ballet Op. 39: La ritrovata figlia di Ottone II
• P XXIV:2 \ Arlechino (lost)
• P XXIV:3 \ Ballet in C major
• P XXIV:4 \ Ballet in F major
• P XXIV:5 \ Pantomime in A minor
• P XXIV:6 \ Télémaque dans l'île de Calypso (ballet) (lost)

Sacred Music

• P XXV: 1 \ Mass in C major
• P XXV: 2 \ Tantum ergo in F major
• P XXV: 3 \ Mandavit Deus in E flat major
• P XXV: 4 \ Quaeso ad me veni in E flat major
• P XXV: 5 \ Umbra noctis orbem tangit in B flat major
• P XXV: 6 \ Domine non sul dignus in E flat major
• P XXV: 7 \ Gottes Liebe in C sharp minor
• P XXV:A1 \ Mass in A major
• P XXV:A2 \ Offertory in A major
• P XXV:A3 \ Aeh quanta vis amoris in A major
• P XXV:A4 \ Mater dolorosa in A major
• P XXV:B1 \ Ad hoc festum chori in B flat major
• P XXV:B2 \ Omni die Mariae in B flat major
• P XXV:B3 \ Magne Deus audi in B flat major
• P XXV:C1 \ Missa brevis in C major
• P XXV:D1 \ Missa brevis in D major
• P XXV:D2 \ Amati quaeso montes in D major
• P XXV:Es1 \ Cernis o anima in E flat major
• P XXV:g1 \ Mass in G minor

Sources[link]

• Flamm-Harten, C.: Leopold Kozeluch (1968)
• Kennedy, Michael and Bourne, Joyce, eds. The Concise Oxford Dictionary of Music. Fourth edition, 1996 (2004 reprint). Oxford, New York: Oxford University Press. ISBN 0-19-860884-5.
• Sondheimer, Robert: Die Theorie der Sinfonie und die Beurteilung einzelner Sinfoniekomponisten bei den Musikschriftstellern des 18. Jahrhunderts. Leipzig: Breitkopf & Härtel, 1925.

Further reading[link]

• Deutsch, Otto Erich. Kozeluch Ritrovato. Music and letters. London. v. 26 no. 1, Jan. 1945, p. 47-50.
• Poštolka, Milan. Leopold Koželuh : život a dílo. Praha : Státní hudební vydavatelství, 1964. 387 p. with bibliography pp. 379-87 and 10 pp. illustrations.

External links[link]

• Operone list of works
• Classical-composers.org page on Kozeluch
• Michael Haydn and His Contemporaries page on Kozeluch
• Kozeluch page in "Contemporaries of Mozart" section of mozartforum.com
• Free scores by Leopold Kozeluch at the International Music Score Library Project

Gustav Klimt
Photographic portrait from 1914
Birth name	Gustav Klimt
Born	July 14, 1862 Baumgarten, Austrian Empire
Died	February 6, 1918(1918-02-06) (aged 55) Vienna, Austria-Hungary
Nationality	Imperial Austrian
Field	Painter
Movement	Symbolism, Art Nouveau
Works	Judith and the Head of Holofernes, Portrait of Adele Bloch-Bauer I, The Kiss, Danaë
Influenced	Egon Schiele

Gustav Klimt (July 14, 1862– February 6, 1918) was an Austrian Symbolist painter and one of the most prominent members of the Vienna Secession movement. His major works include paintings, murals, sketches, and other art objects. Klimt's primary subject was the female body,^[1] and his works are marked by a frank eroticism—nowhere is this more apparent than in his numerous drawings in pencil (see Mulher sentada, below).^[2]

Life and work[link]

Early life and education[link]

Egon Schiele, Klimt in a light Blue Smock, 1913

Gustav Klimt was born in Baumgarten, near Vienna in Austria-Hungary, the second of seven children—three boys and four girls.^[3] All three sons displayed artistic talent early on. Klimt's younger brothers were Ernst Klimt and Georg Klimt. His father, Ernst Klimt the Elder, formerly from Bohemia, was a gold engraver.^[4] Ernst married Anna Klimt (née Finster), whose unrealized ambition was to be a musical performer. Klimt lived in poverty for most of his childhood, as work was scarce and economic advancement was difficult for immigrants.

In 1876, Klimt was awarded a scholarship to the Vienna School of Arts and Crafts (Kunstgewerbeschule), where he studied until 1883, and received training as an architectural painter.^[4] He revered the foremost history painter of the time, Hans Makart. Klimt readily accepted the principles of a conservative training; his early work may be classified as academic.^[4] In 1877 his brother Ernst, who, like his father, would become an engraver, also enrolled in the school. The two brothers and their friend Franz Matsch began working together; by 1880 they had received numerous commissions as a team they called the "Company of Artists", and helped their teacher in painting murals in the Kunsthistorisches Museum in Vienna.^[4] Klimt began his professional career painting interior murals and ceilings in large public buildings on the Ringstraße including a successful series of "Allegories and Emblems".

In 1888, Klimt received the Golden order of Merit from Emperor Franz Josef I of Austria for his contributions to murals painted in the Burgtheater in Vienna.^[4] He also became an honorary member of the University of Munich and the University of Vienna. In 1892 both Klimt's father and brother Ernst died, and he had to assume financial responsibility for his father's and brother's families. The tragedies affected his artistic vision as well, and soon he would veer toward a new personal style. In the early 1890s, Klimt met Emilie Flöge, who, notwithstanding the artist's relationships with other women, was to be his companion until the end of his life. Whether his relationship with Flöge was sexual or not is debated, but during that period Klimt fathered at least 14 children.^[5]

Vienna secession years[link]

Klimt became one of the founding members and president of the Wiener Sezession (Vienna Secession) in 1897 and of the group's periodical Ver Sacrum ("Sacred Spring"). He remained with the Secession until 1908. The group's goals were to provide exhibitions for unconventional young artists, to bring the best foreign artists' works to Vienna, and to publish its own magazine to showcase members' work.^[6] The group declared no manifesto and did not set out to encourage any particular style—Naturalists, Realists, and Symbolists all coexisted. The government supported their efforts and gave them a lease on public land to erect an exhibition hall. The group's symbol was Pallas Athena, the Greek goddess of just causes, wisdom, and the arts—and Klimt painted his radical version in 1898.

In 1894, Klimt was commissioned to create three paintings to decorate the ceiling of the Great Hall in the University of Vienna. Not completed until the turn of the century, his three paintings, Philosophy, Medicine and Jurisprudence were criticized for their radical themes and material, which was called "pornographic".^[7] Klimt had transformed traditional allegory and symbolism into a new language which was more overtly sexual, and hence more disturbing.^[7] The public outcry came from all quarters—political, aesthetic, and religious. As a result, they were not displayed on the ceiling of the Great Hall. This would be the last public commission accepted by the artist. All three paintings were destroyed by retreating SS forces in May 1945.^[8][9] His Nuda Verita (1899) defined his bid to further shake up the establishment. The starkly naked red-headed woman holds the mirror of truth, while above it is a quotation by Schiller in stylized lettering, "If you cannot please everyone with your deeds and your art, please a few. To please many is bad."^[10]

A section of the Beethoven Frieze

In 1902, Klimt finished the Beethoven Frieze for the 14th Vienna Secessionist exhibition, which was intended to be a celebration of the composer and featured a monumental, polychromed sculpture by Max Klinger. Meant for the exhibition only, the frieze was painted directly on the walls with light materials. After the exhibition the painting was preserved, although it did not go on display until 1986. The face on the Beethoven portrait resembled the composer and Vienna Court Opera director Gustav Mahler, with whom Klimt had a respectful relationship.^[11]

During this period Klimt did not confine himself to public commissions. Beginning in the late 1890s he took annual summer holidays with the Flöge family on the shores of Attersee and painted many of his landscapes there. Klimt was largely interested in painting figures; these works constitute the only genre aside from figure-painting which seriously interested Klimt.^[12] Klimt's Attersee paintings are of a number and quality so as to merit a separate appreciation. Formally, the landscapes are characterized by the same refinement of design and emphatic patterning as the figural pieces. Deep space in the Attersee works is so efficiently flattened to a single plane, it is believed that Klimt painted them while looking through a telescope.^[13]

Golden phase and critical success[link]

The Kiss 1907–1908. Oil on canvas. Österreichische Galerie Belvedere.

Klimt's 'Golden Phase' was marked by positive critical reaction and success. Many of his paintings from this period used gold leaf; the prominent use of gold can first be traced back to Pallas Athene (1898) and Judith I (1901), although the works most popularly associated with this period are the Portrait of Adele Bloch-Bauer I (1907) and The Kiss (1907–1908). Klimt travelled little but trips to Venice and Ravenna, both famous for their beautiful mosaics, most likely inspired his gold technique and his Byzantine imagery. In 1904, he collaborated with other artists on the lavish Palais Stoclet, the home of a wealthy Belgian industrialist, which was one of the grandest monuments of the Art Nouveau age. Klimt's contributions to the dining room, including both Fulfillment and Expectation, were some of his finest decorative work, and as he publicly stated, "probably the ultimate stage of my development of ornament."^[14] Between 1907 and 1909, Klimt painted five canvases of society women wrapped in fur. His apparent love of costume is expressed in the many photographs of Flöge modeling clothing he designed.

As he worked and relaxed in his home, Klimt normally wore sandals and a long robe with no undergarments. His simple life was somewhat cloistered, devoted to his art and family and little else except the Secessionist Movement, and he avoided café society and other artists socially. Klimt's fame usually brought patrons to his door, and he could afford to be highly selective. His painting method was very deliberate and painstaking at times and he required lengthy sittings by his subjects. Though very active sexually, he kept his affairs discreet and he avoided personal scandal.

Klimt wrote little about his vision or his methods. He wrote mostly postcards to Flöge and kept no diary. In a rare writing called "Commentary on a non-existent self-portrait", he states "I have never painted a self-portrait. I am less interested in myself as a subject for a painting than I am in other people, above all women...There is nothing special about me. I am a painter who paints day after day from morning to night...Who ever wants to know something about me... ought to look carefully at my pictures."^[15]

Later life and posthumous success[link]

Adele Bloch-Bauer I, which sold for a record $135 million in 2006. Neue Galerie, New York.

In 1911 his painting Death and Life received first prize in the world exhibitions in Rome. In 1915 his mother Anna died. Klimt died three years later in Vienna on February 6, 1918, having suffered a stroke and pneumonia due to the influenza epidemic of that year.^[16][17][18] He was buried at the Hietzing Cemetery in Vienna. Numerous paintings were left unfinished.

Klimt's paintings have brought some of the highest prices recorded for individual works of art. In November 2003, Klimt's Landhaus am Attersee sold for $29,128,000,^[19] but that was soon eclipsed by prices paid for other Klimts.

In 2006, the 1907 portrait, Adele Bloch-Bauer I, was purchased for the Neue Galerie New York by Ronald Lauder for a reported US $135 million, surpassing Picasso's 1905 Boy With a Pipe (sold May 5, 2004 for $104 million), as the highest reported price ever paid for a painting. On August 7, 2006, Christie's auction house announced it was handling the sale of the remaining four works by Klimt that were recovered by Maria Altmann and her co-heirs after their long legal battle against Austria (see Republic of Austria v. Altmann). Portrait of Adele Bloch-Bauer II was sold at auction in November 2006 for $88 million, the third-highest priced piece of art at auction at the time.^[20] The Apple Tree I (ca. 1912) sold for $33 million, Birch Forest (1903) sold for $40.3 million,^[21] and Houses in Unterach on Lake Atter (1916) sold for $31 million. Collectively, the five restituted paintings netted over $327 million.^[22] A routine Attersee painting fetched $40.4 million at Sotheby's in November 2011.^[23]

The city of Vienna, Austria will have many special exhibitions commemorating Klimt's 150th birthday in 2012.

Klimt's Folios[link]

Das Werk Gustav Klimts[link]

The only folio set produced in Klimt's lifetime, Das Werk Gustav Klimts was initially published by H.O. Miethke (of Gallerie Miethke, Klimt's exclusive gallery in Vienna) from 1908 to 1914 in an edition of 300 and was supervised by the artist himself. Fifty images depicting Klimt's most important paintings (1893-1913) were reproduced using collotype lithography, mounted on a heavy, cream-colored wove paper with deckled edges. Thirty-one of the images (ten of which are multicolored) are printed on Chine-collé, while the remaining nineteen are incredibly high quality halftones prints. Each piece was marked with a unique signet - designed by Klimt himself - which was impressed into the wove paper in gold metallic ink. The prints were issued in groups of ten to subscribers, in unbound black paper folders embossed with the artist's name. Due to the delicate nature of collotype lithography, as well as the necessity for multicolored prints (a feat difficult to reproduce with collotypes) and Klimt's own desire for perfection, the series that was published in mid 1908 was not completed until 1914.

Each of the fifty prints were categorized among five themes:

1. Allegorical (which included multicolored prints of The Golden Knight, 1903 and The Virgin, c.1912)
2. Mythical/Biblical (Pallas Athena, 1898; Judith and The Head of Holofernes, 1901; and Danaë, c.1908)
3. Portraits (Emilie Flöge, 1902)
4. Erotic-Symbolist (Water Serpents I and II, both c.1907-08 and The Kiss, c.1908)
5. Landscapes (The Sunflower, c. 1906.)

The monochrome collotypes as well as the halftone works were printed with a variety of colored inks ranging from sepia, blue, and green.

Franz Joseph I of Austria was the first person to purchase Das Werk Gustav Klimts in 1908.

Fünfundzwanzig Handzeichnungen[link]

Fünfundzwanzig Handzeichnungen was released the year after Klimt's death and collected 25 drawings, many of which were erotic in nature and just as polarizing as his painted works. Published in Vienna in 1919 by Gilhofer & Ranschburg, the edition of 500 features twenty-five monochrome and two-color collotype reproductions nearly indistinguishable from the drawings they originated from. While the set was released a year after Klimt's death, some art historians suspect he was involved with pre-production due to the printing's meticulous nature (Klimt had overseen the production of the plates for Das Werk Gustav Klimts, making sure each one was to his exact specifications, a level of quality carried through in Fünfundzwanzig Handzeichnungen.) The first ten editions contained an original drawing by Klimt as well.

Many of the works contained in this volume depict erotic scenes of nude women, some of whom are masturbating alone or are coupled in sapphic embraces. When a number of the original drawings were exhibited to the public at Gallerie Miethke in 1910 and the International Exhibition of Prints and Drawings in Vienna in 1913, they were met by critics and viewers who were not shy about their hostility towards Klimt's contemporary perspective. There was an audience for Klimt's erotic drawings however: 15 of his drawings were selected by Viennese poet Franz Blei for his translation of Hellenistic satirist Lucian's Dialogues of the Courteseans. The book, limited to 450 copies, provided Klimt the opportunity to show these more lurid depictions of women and avoided censoring thanks to a minute group of affluent (mostly male) audience.

Gustav Klimt An Aftermath[link]

Composed in 1931 by editor Max Eisler and printed by the Austrian State Printing Office, Gustav Klimt An Aftermath was intended to complete the lifetime folio Das Werk Gustav Klimts. The folio contains 30 colored collotypes (fourteen of which are multicolored) and follows a similar structure found in Das Werk Gustav Klimts, replacing the unique Klimt-designed signets with gold-debossed plate numbers. 150 sets were produced in English, with 20 of them (Nos. I-XX) presented as a "gala edition" bound in gilt leather. The set contains detail images from previously released works (Hygeia from the University Mural Medicine, 1901; a section of the third University Mural Jurisprudence, 1903) as well as unfinished paintings (Adam and Eve; Bridal Progress.)

Gallery[link]

• 

  Philosophie 1899-1907. Destroyed 1945

• 

  Medicine 1899-1907. Destroyed 1945

• 

  Jurisprudence 1899-1907. Destroyed 1945

• 

  Judith and the Head of Holofernes, 1901. Belvedere, Vienna

• 

  Portrait of Hermine Gallia, 1904. National Gallery, London

• 

  The Three Ages of Woman, 1905, Galleria Nazionale d'Arte Moderna, Rome

• 

  Danaë by Gustav Klimt, painted 1907. Private Collection, Vienna

• 

  Hope II, 1907-1908, Museum of Modern Art

• 

  Mäda Primavesi. 1912. Oil on canvas. 150 × 110 cm. Metropolitan Museum of Art, New York.

• 

  Avenue in Schloss Kammer Park, 1912. Belvedere, Vienna

• 

  Mulher sentada, (1916)

• 

  The Friends, 1916-17.

Selected works[link]

Legacy[link]

According to the writer Frank Whitford : " Klimt of course, is an important artist - he's a very popular artist - but in terms of the history of art, he's a very unimportant artist. Although he sums up so much in his work, about the society in which he found himself - in art historical terms his effect was negligible. So he's an artist really in a cul-de-sac."^[28]

• Klimt's work had a strong influence on the paintings of Egon Schiele, whom he would collaborate with to found the Kunsthalle (Hall of Art) in 1917, to try to keep local artists from going abroad.
• National Public Radio reported on January 17, 2006 that "The Austrian National Gallery is being compelled by a national arbitration board to return five paintings by Gustav Klimt to a Los Angeles woman, the heir of a Jewish family that had its art stolen by the Nazis. The paintings are estimated to be worth at least $150 million."^[29]
• Klimt's work has spawned many reinterpretations, including the works of Slovak artist Rudolf Fila.
• Couturier John Galliano found inspiration for the Christian Dior Spring-Summer 2008 haute couture collection in Klimt's work.
• Romanian poet Sebastian Reichmann has published in 2008 a book called Mocheta lui Klimt (Klimt's Carpet). As the author says in an interview^[30] and even in one of the poems from the book, the title was inspired by a carpet from a train he often attended, carpet that reminded him of Klimt's paintings. Also, the front cover depicts an Art Nouveau-styled passage from Bucharest.
• South Korean novelist Kim Young-ha frequently refers to Klimt, particularly Judith, in his first novel I Have The Right To Destroy Myself. One of the main characters in this novel is referred to by the other characters as Judith because of her resemblance to Klimt's painting and is thus also known primarily as Judith to the reader.
• Several of Klimt's most famous works from his golden period inspired a Japanese animation title sequence for the series Elfen Lied, in which the art is recreated to fit with the series' own characters and is arranged as a montage with the song "Lilium". The opening to the anime Sound of the Sky is also largely inspired by Klimt's works.

The Painting Gold Coin[link]

Gustav Klimt and his work have been the subjects of many collector coins and medals. The most recent and prominent one is the famous 100 euro Painting Gold Coin, issued on November 5, 2003. The obverse depicts Klimt in his studio with two unfinished paintings on easels.

Klimt and His Women Gold Coin Series[link]

The Austrian Mint has begun a 5 coin gold series in 2012 to coincide with the 150th anniversary of Gustav Klimt's birth. The first 50 Euro gold coin was issued on January 25, 2012 and feature a portrait of Klimt on the obverse and a portion of the painting of Adele Bloch-Bauer.^[31]

Exhibitions Commemorating Klimt's 150th Birthday in 2012[link]

In addition to the permanent exhibitions on display, the city of Vienna, Austria will celebrate the 150th birthday of Klimt with special exhibitions all over the city. Also, guided walking tours through the city will allow people to see some of the buildings where Klimt worked.

See also[link]

• Bride of the Wind (biopic)
• Klimt (film) (2006 biographical film)
• Klimt University of Vienna Ceiling Paintings
• Lost artworks
• Maria Altmann
• Republic of Austria v. Altmann (Bloch-Bauer court case)

References[link]