The decision of incorporating bidimensional elements was not dictatedīy the lack of artistic skills. Her embroideredĭress, however, was also turned into a geometric pattern much like How convincing Emilie’s features are in Klimt’s ( 2). Likenesses of Flöge made at the photo studio of Mme d’Ora show us just Portrait of Emilie Flöge, Viennese designer and socialite ( 1). Sitters are always very recognisable In 1902 Klimt completed his As they were also exhibited in public, these pictures could bringĪ great deal of prestige to Klimt’s female clients: Their names andįaces would in fact be recognised by the distinguished audienceĪttending art exhibitions. Members of the Viennese bourgeoisie Klimt was highly remunerated for Portraits were usually commissioned by the family of the sitter, mainly Gustav Klimt, Portrait of Fritza Riedler, 153 x 133 cm, 1906 Galerie Belvedere, ViennaĪlthough we know relatively little about the women who sat for him,įemale portraiture played a key role in the career of Gustav Klimt. Nonetheless, the woman’s face and plastic posture leave no doubts: We Its geometric shape suggests it has a symbolic nature Seem to float on the surface of the painting. Instead of fabric covering the chair, eye-shaped gold and silver motifs Like a piece of furniture it resembles a bidimensional illusion. Orangeīrushstrokes, golden leaves, precious stones make up the paintings’īackground none of her, or her family’s belongings appear in the image.įritza’s armchair is well visible in the foreground but it does not look No detail is given about the space she is in. Picture shows an elegantly dressed woman sitting on an armchair, smilingĪt the viewer. The Belvedere Museum in Vienna, is perhaps just as enigmatic: The Not much is known about the life of Fritza Riedler, whom Gustav Klimt We therefore claim that there is a behavioural correspondence to what art historical interpretations have so far asserted: The perception of “Klimt’s style” can be described as two-fold also at a physiological level. The recorded data show that only Klimt’s distinctive paintings induce a specific eyemovement pattern with alternating longer (“absorbed”) and shorter (“scattered”) fixations. The pictures included artworks by Klimt in both his distinctive and non-distinctive styles, as well as other artists of the same historical period. Twenty-one portraits were shown to thirty viewers while their eye-movements were recorded. The following study was designed to observe whether Klimt’s distinctive style causes a specific behaviour of the viewer, at the level of eye-movements. While Klimt adopted a variety of stylistic choices in his career, this one popularised his work and was hardly ever used by other artists. Art historical writing suggests that this juxtaposition allows a two-fold experience the perception of both the realm of art and the realm of life. Among the most renowned painters of the early twentieth century, Gustav Klimt is often associated – by experts and laymen alike - with a distinctive style of representation: the visual juxtaposition of realistic features and flattened ornamental patterns.
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