欧宝娱乐

“She glitters like she walked out of a Klimt painting”
― Jandy Nelson

“Even before the First World War there was a strain in European art and music 鈥� in Germany more than anywhere 鈥� that was turning from ripeness to over-ripeness and then into something else. The last strains of the Austro-German Romantic tradition 鈥� exemplified by Gustav Mahler, Richard Strauss and Gustav Klimt 鈥� seemed almost to have destroyed itself by reaching a pitch of ripeness from which nothing could follow other than complete breakdown. It was not just that their subject matter was so death-obsessed, but that the tradition felt as though it could not be stretched any further or innovated any more without snapping. And so it snapped: in modernism and then post-modernism.”
― Douglas Murray, The Strange Death of Europe: Immigration, Identity, Islam

“This intensely lyrical vision of the pregant woman in [i]Hope I[i] is set in an ambiguous context peopled with masks, death's heads and allegorical monsters such as Sin, Disease, Poverty and Death, all threatening the incipient life.”
― Gilles N茅ret, Gustav Klimt: 1862-1918

“This evening : Fischl and Mayreder debated on Secession, Fischl pro and Mayreder contra - primarily against Olbrich. It's all very well to dismiss him, to criticize - but just try doing better yourself dear Mayreder ! It was the fourth time that M. had called on us in the last few days, and we're heartily glad to be rid of him. Nobody misses him, myself least of all. - I wonder if he's still fond of me? He's very taken with the Secessionist painters, being particularly 'enamoured' - as he puts it - of Bacher, Engelhart and Klimt. Of the latter he says he can well understand young ladies falling for him "in a big way". Oh yes, that was fun : while Kuehl, Klimt, Mayreder, Jettel etc. were here, Klimt gave me the idea of shaping my bread into a heart. I did so, then he formed a toothpick into an arrow and plunged it into the heart. He took red wine and made it flow from the would. It looked really good. He gave it to Mayreder as 'my wounded heart'. On reflection, I can see that it was a very brutal joke and I regret it, for at the time Mayreder gave me a look that went straight through me.
Incidentally, Klimt knows that M. is fond of me. He noticed - and said as much as well. I didn't deny it.”
― Alma Mahler-Werfel, Diaries 1898-1902

“Some elements appear in this picture which would be decisive in Klimt's subsequent work: for instance, the use of gold and the transformation of anatomy into ornamentation, of ornamentation into anatomy.”
― Gilles N茅ret, Gustav Klimt: 1862-1918

“Eros and Thanatos were always the source of his inspiration, even though, from this time on, they usually appear in the guise of two simple and fundamental themes: flowers and women. These themes offered him the greatest opportunity to give a certain permanence to all that can be grasped in passing: an ephemeral sensual joy, the ecstasy of life.”
― Gilles N茅ret, Gustav Klimt: 1862-1918

“This is magnificent,鈥� said Justine. 鈥淚鈥檝e never seen anything like it. But I can鈥檛 make out the artist鈥檚 name?鈥�

鈥淚t鈥檚 by a friend of mine,鈥� said Irene. 鈥淗is name is not known outside of Vienna, but it will be鈥擨 think someday soon, all of Europe will be talking about Gustav Klimt. I was the model for this one. I don鈥檛 know if you can see the resemblance.”
― Theodora Goss, European Travel for the Monstrous Gentlewoman