Klimt Landscapes Glisten and Glitter in New York Exhibition

A few weeks ago, I wrote about Matthew Wong / Vincent Van Gogh: Painting as a Last Resort at the Van Gogh Museum. Wong (1984–2019) was a savant who absorbed and recalibrated many muses, dead and alive, to make some very beautiful art. The Van Gogh Museum, naturally, focused — not entirely — on Van Gogh as an inspiration, but I’d say that the Austrian painter Gustav Klimt (1862–1918) was a model for Wong, who was both voracious and analytical. Coincidentally, a week or so before I saw the Amsterdam exhibition, I had visited the Neue Galerie in New York and its new Klimt Landscapes exhibition.

Klimt is famous for The Kiss and the Neue Galerie’s own Adele Bloch-Bauer I, whose ownership was the impetus for the movie Woman in Gold. He’s also known mostly as a figure painter specializing in high-society women and femme fatales and as the star of the Austrian Secession movement from the 1890s until his death in 1918.

A few weeks ago, I wrote about Matthew Wong / Vincent Van Gogh: Painting as a Last Resort at the Van Gogh Museum. Wong (1984–2019) was a savant who absorbed and recalibrated many muses, dead and alive, to make some very beautiful art. The Van Gogh Museum, naturally, focused — not entirely — on Van Gogh as an inspiration, but I’d say that the Austrian painter Gustav Klimt (1862–1918) was a model for Wong, who was both voracious and analytical. Coincidentally, a week or so before I saw the Amsterdam exhibition, I had visited the Neue Galerie in New York and its new Klimt Landscapes exhibition.

Klimt is famous for The Kiss and the Neue Galerie’s own Adele Bloch-Bauer I, whose ownership was the impetus for the movie Woman in Gold. He’s also known mostly as a figure painter specializing in high-society women and femme fatales and as the star of the Austrian Secession movement from the 1890s until his death in 1918.