Gustav Klimt
Explore the life of Gustav Klimt (1862–1918), Austrian symbolist painter and pioneer of the Vienna Secession. Learn about his biography, artistic vision, iconic works, and memorable quotes reflecting his creative philosophy.
Introduction
Gustav Klimt, born July 14, 1862, and died February 6, 1918, was an Austrian painter whose richly decorative style, use of gold leaf, and erotic, symbolic imagery made him one of the most celebrated figures of the Vienna Secession and the broader Art Nouveau (or Jugendstil) movement.
His work pushed the boundaries of acceptable subject matter in his time, particularly in his frank depictions of the female body, allegory, and intimate portraiture. Today, Klimt is known for masterpieces like The Kiss, Portrait of Adele Bloch-Bauer I, Danaë, and many others, which continue to fascinate viewers with their intense aesthetic and symbolic depth.
Early Life and Education
Gustav Klimt was born in Baumgarten (then a suburb of Vienna) to Ernst Klimt, a gold engraver, and his wife Anna. He was one of seven children.
From an early age, Klimt showed artistic ability, and in 1876 (when he was 14) he was admitted to the Vienna School of Arts and Crafts (Kunstgewerbeschule), affiliated with the Imperial Royal Museum of Art and Industry.
He studied under professors such as Ferdinand Laufberger and others in more traditional or decorative arts modes.
Together with his brothers Ernst and Georg and artist Franz Matsch, he formed the Künstler-Compagnie (Artists’ Company) in the early 1880s, executing decorative murals, ceilings, and ornamented commissions in Vienna and beyond.
These early works were in a more classical, academic style suited to architectural decoration — far from the stylistic freedom he would later adopt.
Artistic Development & Vienna Secession
By the 1890s, Klimt began to move away from strict historicism and classical styles, experimenting with symbolism, allegory, eroticism, and richly decorative surfaces.
In 1897, Klimt was one of the founding members of the Vienna Secession — a group of artists, architects, and designers who sought to break away from conservative academic art institutions and embrace modern, international trends.
Klimt served as the first president of the Secession and contributed heavily to its exhibitions and publications.
This period saw Klimt produce his “Golden Phase,” in which his works increasingly incorporated gold leaf, intricate patterns, mosaics, and ornamental geometry — influences from Byzantine art, Japanese art (Japonisme), and symbolism.
His works from this phase, such as The Kiss (1907–1908), Portrait of Adele Bloch-Bauer I (1907), Danaë (1907), among others, stand among the most recognizable and celebrated images of early modern art.
At times, Klimt’s more provocative works drew scandal and criticism (for their erotic symbolism), especially in contexts where public or academic commissions demanded more conservative approaches.
Mature Works & Style
Key Themes & Motifs
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The Female Form & Eroticism: Much of Klimt’s figurative work centers on women — sensual, ornate, and psychologically intense.
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Symbolism & Allegory: He frequently used mythological or symbolic references (e.g. Danaë, Death & Life) to explore spiritual, psychological, and existential themes.
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Decorative Ornament & Pattern: His signature is the lush decoration: gold, mosaic-like surfaces, flat backgrounds, and richly patterned drapery or forms.
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Flattened Space & Abstraction: He often reduced spatial depth, using planar or flattened arrangements to emphasize surface and pattern over illusionistic realism.
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Nature & Symbolic Flora: Floral and organic motifs often intertwine with symbolism (e.g. flowers, vines, geometric forms) in his backgrounds or draperies.
Notable Works
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The Kiss (Lovers) (1907–1908): Possibly his most iconic work — two figures in embrace, richly ornamented, floating in a golden and patterned space.
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Portrait of Adele Bloch-Bauer I (1907): One of his most famous commissioned portraits; after much legal battle, it sold for a record price.
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Danaë (1907): A work depicting the mythological figure visited by Zeus (as golden rain), combining eroticism and allegory.
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Lady with a Fan (1917–1918): Considered his final portrait, painted shortly before his death; it fetched a record price in 2023.
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Schubert at the Piano (1899): A more modest, musical subject; unfortunately destroyed in 1945 during the war.
Klimt’s late works often show more experimentation, freer handling, and sometimes asymmetry or exotic motifs (e.g. Asian influences in Lady with a Fan).
Personal Life & Relationships
Klimt never married, but he had a number of close relationships with women (often his models or patrons).
He fathered children (some sources list several) though the details around many of these relationships remain unclear and somewhat elusive.
One of his frequent companions was Emilie Flöge, a progressive fashion designer, whose salon and relationship with Klimt were long the subject of speculation.
His circle of patrons included affluent Viennese families, many of whom were assimilated Jews. These patronage relationships both supported him financially and became entangled with the tragic conflicts of the 20th century, particularly in the Nazi era.
Later, after Klimt’s death, many works were expropriated, lost, or involved in restitution disputes. The story of Adele Bloch-Bauer I (the “Woman in Gold” case) is one of the most well-known of these.
Death & Posthumous Reputation
Klimt suffered a stroke in January 1918, and in February he died in Vienna, reportedly from complications exacerbated by pneumonia.
He was buried in the Hietzinger Cemetery in Vienna, near his last studio, in a plot shared with family.
After his death, his influence grew steadily. His legacy was embraced by modernists, collectors, and later generations interested in decorative and symbolic art.
In recent decades, many of his works have become some of the highest-priced paintings ever sold at auction. For example, Lady with a Fan achieved a record price in Europe in 2023.
His paintings have also been central in restitution debates and legal battles over art looted during the Nazi era.
Famous Quotes
Here are some notable quotes attributed to Gustav Klimt, reflecting his views on art, creativity, and self:
“All art is erotic.” “Art is a line around your thoughts.” “Whoever wants to know something about me — as an artist […] should look attentively at my pictures and there seek to recognize what I am and what I want.” “Today I want to start working again in earnest — I’m looking forward to it because doing nothing does become rather boring after a while.” “I can paint and draw. I believe this myself and a few other people say that they believe this too. But I’m not certain of whether it’s true.” “Although even when I am being idle I have plenty of food for thought both early and late — thoughts both about and not about art.”
These quotes convey Klimt’s self-reflective, poetic attitude toward art, his awareness of his own uncertainty, and his conviction in the erotic as a force in artistic creation.
Lessons & Reflections
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Art as personal revelation
Klimt’s injunction that one should “look at his pictures to know him” suggests that for him, art is not secondary, but the primary medium of self-expression. -
Beauty and meaning in ornament
By elevating decorative motifs to the level of symbolic content, Klimt challenged the division between “fine art” and “ornament,” showing that pattern, line, and adornment carry expressive weight. -
Courage to provoke
Klimt pushed against conservative norms, especially in his erotic works. He accepted criticism and occasional scandal in pursuit of his vision. -
Transcending realism
His use of flattening, abstraction, symbolism, and stylization shows that a painting need not mimic reality to evoke deep feeling and beauty. -
Art in historical context
The later disputes over his works (looting, restitution) remind us how art is bound not only to aesthetics but to politics, power, justice, and memory.