Gustav Klimt, The Kiss

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Gustav Klimt, The Kiss발음듣기

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[Intro Music] We're in Belvedere in Vienna and we're looking at Gustav Klimt's The Kiss from 1908. Probably the most famous Klimt.발음듣기

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And I actually have to admit that I had forgotten that the painting is almost a perfect square, because I have seen it in so many posters where it's been cut down and made into a rectangle.발음듣기

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It's a very large painting, and there's so much gold that it's hard not to think of a religious icon.발음듣기

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And I think in some ways, Klimt was trying to create a modern icon.발음듣기

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Something that suggested a sense of transcendence.발음듣기

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Well, there's no question that the gold here makes you think of the Byzantine tradition, maybe some of the tile work at Ravenna.발음듣기

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There is a way that patterning, especially around the faces, becomes a kind of a halo as well.발음듣기

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You have Klimt building up the gold; he's got those gold circles they actually rise off the surface of the canvas.발음듣기

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And catch the light, much the way the gold was tooled in Medieval paintings.발음듣기

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There is this sense of the male figure, of patterns that are direct linear in contrast to the curvilinear to the circles and the ovals that we see in the female form.발음듣기

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The point that you made about the sense of the spiritual is so powerful in this painting.발음듣기

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I think we forget that darker gold ground seems so much as if the figures are somehow being dissipated into the cosmos, that they're so lost in the intensity, the eternity of that kiss.발음듣기

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And all removed from the everyday world.발음듣기

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I mean, we have to remember that this is a time of incredible modernization in Vienna.발음듣기

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The City of Vienna has been transformed in the previous thirty years into a modern city.발음듣기

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Here, Klimt is abstracting universal experience from the trauma, the difficulties, the anxieties of everyday life.발음듣기

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I think it's also important to see this in relationship to Klimt's Beethoven Frieze.발음듣기

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Where the figures confront evil forces, this mythic figures.발음듣기

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And in the end, there's this embrace, this kiss, this emergence from evil into fulfillment and perfection.발음듣기

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A minute ago, we were looking at the painting by Egon Schiele called The Embrace.발음듣기

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But there, there was so much more of a sense of physicality of the bodies.발음듣기

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The way that the bodies really aren't present here, and are cloaked in these decorative forms reminds us how much Klimt, although he was exploring this kind of sensuality, was also disguising and covering it with a kind of decorative patterning.발음듣기

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And that's absolutely right, with the exception of the faces.발음듣기

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And here, this is where the entire painting changes.발음듣기

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The female figure is completely full frontal, but horizontal, so that there is this beautiful sense of her passivity receiving that kiss, but also a kind of deep interior feeling with her eyes closed.발음듣기

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Her fingers just delicately touching his as he holds her head.발음듣기

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And his neck reaches out and around, and you get a sense of his physical power through the strength of that neck, but also intensity of his desire.발음듣기

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And of course, they're both crowned.발음듣기

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On his head you can see a wreath of leaves; on hers almost as if they were the stars of the heavens.발음듣기

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Schiele gives us an image of a couple that's electrified by kinds of agitated outlines.발음듣기

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Shiele is showing us a kind of truth through the energy of the moment, whereas Klimt seems to be reaching out to a truth that is for all time.발음듣기

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That is so aestheticized it feels as if it has a degree of absolute permanence. [Outro Music]발음듣기

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