Gustav Klimt’s portrait of a kid captures her blossoming poise and confidence.
by Jerry N. Weiss
Endowed with a commanding presence, Mäda Primavesi was 9 years outdated when Gustav Klimt (Austrian, 1862–1918) painted her portrait. Mäda’s father, Otto Primavesi, was a banker, a person of means and a patron to avant-garde artists in Vienna. He commissioned Klimt to color each his daughter and his spouse, Eugenia. Klimt was apparently keen on his younger sitter. A few years later, Mäda revealed that Klimt signed her autograph e-book. “The day is like evening except I see you,” he wrote. Mäda lived till 2000, just a few years shy of 100 years outdated.
Klimt’s early work was created in a standard, educational method, albeit with a chic ornamental sense. By the late Eighteen Nineties, his work turned more and more idiosyncratic in type and erotic in content material. Within the first decade of the twentieth century, he usually adorned his canvases with gold leaf. The ensuing impression, seen most famously in Portrait of Adele Bloch-Bauer I, was that of refined decadence.
Mäda Primavesi is a later work. By this time, Klimt had disbursed with gold leaf, as an alternative choosing flat planes of variegated sample—mosaics of brightly coloured pigment. The place as soon as the contours had been sharply drawn, paint was now utilized loosely, at instances riotously, but at all times certain to the strictures of design.
“There’s nothing particular about me,” Klimt wrote. “I’m a painter who paints day after day from morning to nighttime . . . . Whoever desires to know one thing about me . . . should look rigorously at my photos.” So we do, with pleasure.
Jerry N. Weiss is an artist and an teacher with the Artwork College students League of New York. This text seems within the “Anatomy of a Portray” column within the March/April 2023 problem of Artists Journal.