The man's face is not shown to the audience and instead, his face is bent downward to press a kiss to the woman's cheek, and his hands are cradling the woman's face. She is shown in a flowing dress with floral patterns. ![]() He wears a crown of vines while the woman wears a crown of flowers. The man wears a robe printed with geometric patterns and subtle swirls. The two figures are situated at the edge of a patch of flowery meadow that ends under the woman's exposed feet. Gustav Klimt depicts the couple locked in an intimate embrace against a gold, flat background. Description The Kiss, Francesco Hayez, 1859 Others suggest the female was the model known as 'Red Hilda' she bears strong resemblance to the model in his Woman with feather boa, Goldfish and Danaë. It is thought that Klimt and his companion Emilie Flöge modeled for the work, but there is no evidence or record to prove this. Both works are precursors to The Kiss and feature the recurring motif of an embracing couple. ![]() The Stoclet Frieze and the Beethoven Frieze are such examples of Klimt's focus on romantic intimacy. Love, intimacy, and sexuality are common themes found in Gustav Klimt's works. Background Fulfilment, a sketch for the 1905–09 Brussels Stoclets It is considered by many as a famous work of art. The painting now hangs in the Österreichische Galerie Belvedere museum in the Belvedere, Vienna, and is considered a masterpiece of Vienna Secession (local variation of Art Nouveau) and Klimt's most popular work after Portrait of Adele Bloch-Bauer I. The painting depicts a couple embracing each other, their bodies entwined in elaborate beautiful robes decorated in a style influenced by the contemporary Art Nouveau style and the organic forms of the earlier Arts and Crafts movement. It was exhibited in 1908 under the title Liebespaar (the lovers) as stated in the catalogue of the exhibition. It was painted at some point in 19, during the height of what scholars call his "Golden Period". ![]() The Kiss (in German Der Kuss) is an oil-on-canvas painting with added gold leaf, silver and platinum by the Austrian Symbolist painter Gustav Klimt. “I cannot separate myself from my clothes nor from Alain’s - The pretext is that they are still good - it’s my past, and as rotten as it was, I would like to take it and hold it tight in my arms.Österreichische Galerie Belvedere, Vienna, Austria ![]() Who hasn’t struggled to part with the dress they wore to their first dance, even if it stopped fitting decades ago? Or the first designer item they ever bought, even if it’s worn to the ground? Bourgeois was extraordinarily sentimental about her clothing: “It gives me great pleasure to hold on to my clothes, my dresses, my stockings, I have never thrown away a pair of shoes of mine in 20 years,” the artist wrote in 1968. “It is not about bombastic, monumental stories, but ordinary and intimate ones.” Opening on October 14 at MoMu, the Fashion Museum of Antwerp, the show explores these simple facts of life via the lens of three creatives: the visual artist Louise Bourgeois, the choreographer Anne Teresa de Keersmaeker, and the fashion designer Simone Rocha.ĮCHO explores something profoundly universal: the meaning we attach to what we wear. If we are lucky, we will grow up and then old,” says curator Elisa de Wyngaert of her latest project, the multimedia exhibition ECHO. “When looking at clothing and memory, I wanted to think about the experiences we all share.
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