After watching the Egyptians let us move into our present Modern with Gustav Klimt and Egon Schiele
Contributions by Alessandra Comini, James T. Demetrion, Johannes Dobai, and Thomas M. MesserPublished in 1965
124 pages
Softcover
Excerpt
Where Klimt is ornamentally decorous, Schiele is often
indecorously expressive. Klimt's meticulously structured mosaic
compositions are opposite in concept and execution from Schiele's sure
and daring linear scheme, as are Klimt's subtly balanced tonal effects
when seen in juxtaposition with Schiele's fauve and eventually
expressionist use of color. Klimt strives through formal means to attain
an order that, not unlike Mondrian's, reduces spontaneous and
individual components to a collective validity. Schiele, in contrast
more like Klee, transcribes highly personal insights which then assume
the power of evoking common experiences. Above all, Klimt, despite his
current relevance to modern art, must be seen as a late exponent of an
historic style, whereas Schiele raises to the most intense pitch the
newly acquired awareness of 20th century man. Together, Klimt and
Schiele signify an end and a beginning, and at one poignant moment their
adjoining forms point simultaneously backward and forward to comprise
the past and future in a fleeting present.This is the documentary about the first for The Lady in Gold - An Austrian National Treasure - Stolen by the Nazis.
No comments:
Post a Comment