198 1900 TO PRESENT

The Kiss1907–08 OIL AND SILVER AND GOLD LEAF ON CANVAS 703⁄4 × 703⁄4in (180 × 180cm) ÖSTERREICHISCHE GALERIE BELVEDERE, VIENNA, AUSTRIA

GUSTAV KLIMT

The heady mix of sensuality and opulence in this

iconic image captures the essence of Klimt’s unique

approach. He was fascinated by the theme of the

human embrace, returning to it on several occasions,

but this is the definitive version. The couple are locked

together, so absorbed in each other that they are no

longer aware of anything beyond their own passion.

They are encased in a strange, golden covering, which

emphasizes their union and cocoons them from the

outside world. Wearing extravagant, multicolored robes

that seem to merge into each other, the lovers embrace

on a small patch of grass, carpeted with an improbable

profusion of flowers. The setting is pure fantasy. In

spite of all this, The Kiss remains an ambivalent picture.

The embrace appears to take place beside an abyss,

with the woman’s feet dangling over the edge. Is Klimt

hinting that both love and passion are precarious,

perhaps even dangerous?

An eclectic style The Kiss was produced at the height of Klimt’s career,

when he was drawing upon a wide range of influences.

It reflects the fashionable taste for Art Nouveau, which

was the predominant style of the works exhibited by

Klimt and the other artists of the Vienna Secession. Art

Nouveau was characterized by a preference for stylized

forms and sinuous, linear patterns. Above all, however,

it placed more emphasis on decoration than on realism.

In The Kiss this is evident not only from the amorphous

shape of the lovers’ robes, but also from the unrealistic

dimensions of the woman. She is kneeling down while her

partner appears to be standing, suggesting that she is

considerably taller than him. However, this is well disguised

by the wealth of decorative detail surrounding the lovers.

The theme of The Kiss had been popularized by

Symbolist artists, such as Edvard Munch. It was often used

as a pretext for depicting a femme fatale, although that is

not the case here, as Klimt has portrayed the woman in a

purely passive role. However, the erotic content and the

mysterious, evocative setting are very much in keeping

with the spirit of Symbolism.

GUSTAV KLIMT

1862–1918

An Austrian painter and designer, Klimt dominated the art scene in Vienna in the early 1900s. Nothing evokes this magnificent era more effectively than Klimt’s “golden period” paintings.

Born in a suburb of Vienna, Gustav Klimt trained at the city’s School of Applied Art. He made his mark quickly, producing large-scale decorative schemes for major building projects. These were well received and a successful academic career appeared to beckon, but Klimt’s interests were shifting toward avant-garde art. Finding the official artists’ association too staid, he withdrew from it in 1897 and, together with a group of like-minded friends, formed the Vienna Secession.

The Secession functioned mainly as an exhibiting body, opening its doors to painters, architects, and decorative artists working in a broad range of styles. Klimt’s controversial new venture curtailed commissions from official sources, but he was in great demand as a portraitist, winning particular acclaim for his sensual depictions of beautiful women. He also continued to produce decorative work for patrons, most notably at the Palais Stoclet in Brussels, Belgium.

The greatest influence on the artist’s style perhaps came

from mosaics. Klimt had always been interested in this

medium, but his enthusiasm was fired after studying the

Byzantine mosaics in the churches at Ravenna in Italy in

1903. He extended his practice of creating designs from

tiny fragments of color so that the painted surface—the

man’s robe, for example—resembles a painted mosaic.

The Ravenna mosaics also reinforced Klimt’s conviction

that his compositions would look more imposing and

atmospheric when set against a golden background,

rather than a naturalistic one.

SCALE

199THE KISS GUSTAV KLIMT

The Kiss is the icon of a post-religious age, and Klimt gives it the glitter and grandeur of an altarpieceJONATHAN JONES THE GUARDIAN, 2001

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Visual tour

KEY

1 THE KISS As in Klimt’s other versions of this subject, the man’s face is largely hidden from view. However, his virile power is conveyed by his robust, bull-necked appearance and by the way that his huge hands dwarf those of his partner. He is also wearing a crown of ivy, a plant sacred to the Greek god Dionysus and his followers, the satyrs. Through these figures, there are associations with both fertility and lust. The woman, by contrast, is entirely passive. Her eyes are closed, presumably in ecstasy, although her ashen complexion and the painfully horizontal tilt of her head may have been inspired by the theme of the severed head, which was fashionable in Symbolist art. In 1901, Klimt had painted Judith with the Head of Holofernes.

2 WOMAN’S ROBE The woman’s dress provides a striking contrast to that of her partner. The golden decoration is composed predominantly of small, circular forms linked by thin, wavy lines. However, the most eye-catching features of her robe are the large, brightly colored rondels, each containing an array of smaller circles. These were meant to echo the flowers beneath the lovers’ feet. Some of the examples at the bottom of the woman’s robe even appear to have stylized petals. The profusion of flowers and the patterns on the dress can both be read as emblems of fertility.

2 LUXURIOUS PATTERN During this phase of his career, Klimt enjoyed experimenting with beguiling combinations of abstract and figurative elements. He portrayed his friends in wildly extravagant, patterned clothing, so that they almost seemed to disappear into their voluminous robes. Often, only their hands and faces were visible and, as in The Kiss, the precise outline of their figures was obscured.

4 BED OF FLOWERS Klimt used to relax by painting landscapes. These were highly unconventional, focusing primarily on densely packed areas of brightly colored flowers. In part, the inspiration for these came from his studio garden, which he allowed to run wild, but they are also reminiscent of the floral decoration found in early tapestries. In The Kiss, the flowery bank provides a platform for the lovers, but it also enhances the air of opulent fantasy. In its own way, it seems as exotic and unreal as the shimmering, golden background.

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1 FEET In stark contrast to the physical beauty of many of his figures, Klimt’s portrayal of their limbs was often quite distorted. The hands are too large, while their fingers and toes may appear twisted or deformed. This trait was probably influenced by the Expressionist style, which was just emerging at the time. In this case, the detail of the woman’s feet is quite ambiguous. It may be that her toes are curled in rapture, or else they are desperately clinging on to the last piece of solid ground, at the edge of the precipice. On a similar note, the position of the woman’s right hand, along with her unseen right arm, is also extremely awkward.

4 TEXTURE Klimt liked to heighten the sensual impact of his pictures by embellishing them with a variety of precious materials. In the background of The Kiss he created a shimmering, granular effect by layering gold dust on an umber background. He achieved a different textural effect on the lovers’ robes by modeling some of the patterns in gesso, before painting them gold.

3 MAN’S ROBE Klimt used different symbolic motifs to distinguish between the lovers’ robes. The man’s attire is decorated with plain, rectangular shapes, which are colored black, white, or silver. These angular patterns were intended specifically to conjure up male attributes, and to contrast with the curved and colorful motifs of the woman’s robe.

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1Secession Building (1897–98), Joseph Maria Olbrich, Vienna, Austria

THE KISS GUSTAV KLIMT

ON TECHNIQUE

Although he is best known as a painter, Klimt had a firm grounding in the decorative arts and this never ceased to affect his style. As a child, he learnt from his father, who was a goldsmith and engraver, and he built on these foundations at the School of Applied Art. In later years, he was chiefly influenced by mosaics, particularly after seeing the outstanding examples at Ravenna, Italy. This prompted Klimt to build up his pictures using brilliantly colored, fragmented forms. In the detail below, the painted mosaic pattern is overlaid with gilded, leafy chains like the stems of a plant twining over the woman’s feet.

IN CONTEXT

Klimt was the first president of the Vienna Secession, which was formed in 1897. The group held their exhibitions in the spectacular Secession Building, which critics disparagingly referred to as “the golden cabbage” because of its glittering dome. The Secession’s motto—“To each age its art, to art its freedom”—is inscribed in gold letters above the imposing geometric entrance.