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Gustav Klimt: A Bridgehead to Modernism

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Intellectuals and the Future in the Habsburg Monarchy 1890–1914

Part of the book series: Studies in Russia and East Europe ((SREE))

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Abstract

Art history, in its rush to appropriate and digest the Modernist movement, has forced upon it the form of a linear progression of stylistic innovation. This linear progression which is primarily formalist has been moving in one main direction in which progress towards abstraction and its affiliated strands of development has played a dominant role.

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Notes

  1. Renato Puggioli, The Theory of the Avant Garde, Cambridge, 1968, pp. 11–12.

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  2. Nicos Hadjinicolau, Art History and the Class Struggle, London, 1978, pp. 117–48.

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  3. Ulrich Finke, German Painting from Romanticism to Expressionism, London, 1974, p. 195.

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  4. Alessandra Comini, Gustav Klimt, London, 1975.

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  5. Marian Bisanz-Praken, Gustav Klimt- Der Beethoven-Frieze, Salzburg, 1977.

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  6. Carl Schorske, Fin de Siècle Vienna — Politics and Culture, New York, 1980.

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  7. All paintings to be found in Gerbert Froedl, Monographie und Werkverzeichnis, Salzburg, 1974.

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  8. Renata Mikula, ‘Der Festzug’ in Hans Makart — Entwurf und Phantasien, Vienna — Hermesvilla, 1975, pp. 16–19.

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  9. Fritz Novotný, Der Maler Anton Romako, Vienna, 1954. The works discussed here are catalogue numbers 285 and 324.

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  10. For information on the formation of the Secession, see Robert Waissenberger, Vienna Secession, New York, 1977.

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  11. For source material in Klimťs paintings, see Christian M. Nebehay, Gustav Klimt Dokumentation, Vienna, 1969. For references to the above-mentioned works, see pp. 84–8 and 97–8. All works are reproduced in Johannes Dobai’s œuvre catalogue, Gustav Klimt, Vienna, 1967.

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  12. See Alice Strobl, Zu den Fakultaetsbildern von Gustav Klimt, Albertina Studien, vol. 2, 1964, pp. 138–70.

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  13. See Stella Wega Mathieu (ed.), Max Klinger- Leben und Werk, Framkfurt am Main, 1967, pp. 70–72.

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  14. See L. Seilern and H. Hoffstätter, Klimt — Erotische Zeichnungen, Cologne, 1979; and Alice Strobl, Gustav Klimt — Die Zeichnungen, 3 vols, Salzburg, 1980–84.

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  15. Alma Mahler Werfel, And the Bridge is Love, New York, 1958, pp. 11–12; and Berta Szeps-Zucherkandl, interview with Klimt as quoted by Alice Strobl, ‘Zu den Fakultatsbilder … ‘, in Gustav Klimt, p. 162.

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  16. Richard Sennett, The Fall of Public Man, Cambridge, 1977, p. 6.

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Authors
  1. Irit Rogoff
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Editors and Affiliations

  1. School of Slavonic and East European Studies, University of London, UK

    László Péter (Reader in Hungarian History) & Robert B. Pynsent (Lecturer in Czech and Slovak Language and Literature) (Reader in Hungarian History) &  (Lecturer in Czech and Slovak Language and Literature)

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© 1988 School of Slavonic and East European Studies, University of London

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Rogoff, I. (1988). Gustav Klimt: A Bridgehead to Modernism. In: Péter, L., Pynsent, R.B. (eds) Intellectuals and the Future in the Habsburg Monarchy 1890–1914. Studies in Russia and East Europe. Palgrave Macmillan, London. https://doi.org/10.1007/978-1-349-19169-7_3

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  • DOI: https://doi.org/10.1007/978-1-349-19169-7_3

  • Publisher Name: Palgrave Macmillan, London

  • Print ISBN: 978-1-349-19171-0

  • Online ISBN: 978-1-349-19169-7

  • eBook Packages: Palgrave History CollectionHistory (R0)

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