Category: Simbolismo

Nuda Veritas (Tribute to Klimt: Chapter 7)

26/2/2023

At the end of the 19th century the art movement of the Secession was in full swing. Driven by the desire to fight against the most conservative vision of art, which until then had been dominated by the bourgeois and censoring elite, they intended to universalize it by making it more mundane and bringing it closer to all social strata. A new century came to Vienna with them.

In 1897 they created the Ver Sacrum magazine. After having been elected as president of the Secession by his fellow artists, Gustav Klimt took the reins of the third number of the magazine, for which he created some illustrations among which Nuda Veritas and The Envy (Der Neid) stand out.

Originally conceived as an ink drawing for the magazine, these illustrations became the featured image of the third issue. With a forceful and revealing stroke, it came to confirm that Klimt was an excellent sketcher. As he did with other works throughout his career, some time later he took up the idea again, resulting in the giant canvas that, with wavy and sensual lines so typical of Art Nouveau, claims an integral eroticism that ends with a quote from Schiller that the painter makes his own:

Nuda Veritas, Der Neid, Nuda Veritas, 1897

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Antonio va de camino por esos campos de dios

22/2/2023

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El 22 de febrero de 1939 murió -de tristeza y exilio- Antonio Machado en Collioure, uno de los primeros pueblecitos costeros franceses al otro lado de la frontera española. La había cruzado unos pocos días junto a su madre, Ana Ruiz, y otros derrotados compatriotas ante el inminente final de la guerra civil.

El año pasado, gracias a la ayuda de amigas y amigos, realicé un recorrido por algunos de los lugares importantes en su vida. Quedaron entonces algunos destinos pendientes, y este año he retomado la senda que él pisó y siguiendo los pasos de aquel caminante en su camino llegué hasta los campos castellanos de Segovia. He aquí la pequeña muestra fotográfia que atestigua mi paso por la ciudad y que se añade a mi tributo a Antonio Machado a la espera de nuevos viajes tras la huella el poeta.

VEN A VER MI TRIBUTO A MACHADO

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The Hope (Tribute to Klimt: Chapter 6)

12/2/2023

Made in its heyday, The Hope I and II constitute one of the greatest praises to women in all their dimensions. Flags of Gustav Klimt's style in the eyes of the art world, vindicate the female empowerment as the central figure on which the new art revolves, charged with sensuality and not for that reason stripped of the naturalness with which the Austrian artist intends to vindicate the role of women.

A notable difference can be seen between the two works whose completion is four years away in time.The first of these appears to us overwhelmingly erotic. We find ourselves with the complete nude of a shameless redhead, in fact, the exuberant reddish pubic hair only increases the feeling of perversity. Loaded with symbolism, the shapes and currents that adorn the painting allude to life and death, sensuality and sexuality.

Die Hoffnung, 1903 - II, 1907-08

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The Girlfriends (Tribute to Klimt: Chapter 5)

5/2/2023

Retired on the outskirts of Vienna, the late Klimt gives us a series of fresh and colorful artworks, far removed from the exaggeratedly ornate baroque style that had been so characteristic of his classical work. However, it does not abandon the motives that had been its emblem: the woman continues to be the central axis of his creative universe, focused from eroticism and lesbian love.

Having become a portraitist of bourgeois women, we appreciate in the works of his final stage a substantial change in the color palette, in the style and in the influences. Here we are presented with a clearly calmer Klimt. The mosaics, the golden ornaments and the baroquely charged prints have given way to an appeased use of color and in chromatic harmony with the content, revealing clear Asian and Impressionist influences.

Die Freundinnen, 1916-17

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Danae (Tribute to Klimt: Chapter 4)

27/2/2022

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Klimt had somehow abandoned his most erotic essence with the creation of The Kiss, which had partly led him to be the standard-bearer of the Secession and challenge the moral and aesthetic canons of his time. With Danae returns to his most authentic path, that of the most symbolic and overflowing eroticism. It is possibly his most erotic and passionate work.

The Oracle predicted to Acrisio, king of Argos, that a grandson who had not yet been born would be his murderer. To prevent this, he locks his daughter Danae in a tall bronze tower. The libidinous Zeus discovers the facts, and turns into a shower of gold to enter the pressure and impregnate the young woman. It was too rich a Greek myth for Klimt to pass up the opportunity to give him his vision of it.

Danaë, 1907-08

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Tributo a Antonio Machado

22/2/2022

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Mi infancia son recuerdos de un patio de Sevilla,
y un huerto claro donde madura el limonero;
mi juventud, veinte años en tierras de Castilla;
mi historia, algunos casos que recordar no quiero."

Antonio Machado
Campos de Castilla (1912)

El 22 de febrero de 1939 murió -de tristeza y exilio- Antonio Machado Ruiz en Collioure, Francia, cerca de la frontera con España que había cruzado días antes en los estertores de la guerra civil.

Nacido el 26 de julio de 1875 en el sevillano Palacio de Las Dueñas, fue el más joven representante de la generación del 98 y uno de los alumnos destacados de la Institución Libre de Enseñanza. Poeta modernista en sus inicios, evolucionó hacia el simbolismo romántico de corte humanista y siempre muy influenciado por la cultura popular.

Gerardo Diego dijo de él que «hablaba en verso y vivía en poesía». Su arte es tan trascendental para la poesía española que siempre vivirá en nuestra memoria colectiva. Al morir, en el bolsillo de su gabán se encontró un papelito en el cual había escrito los que fueron sus últimos versos:

2019-2022 © Juan Nepomuceno

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Water Serpents (Tribute to Klimt: Chapter 3)

20/2/2022

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Wasserschlangen II (1904-1907)

At the beginning of the 20th century, after abandoning the Secession movement and retiring to live on the outskirts of Vienna, Klimt began a period of greater creative freedom, in which he produced some of his most famous and recognized works and increased his degree of eroticism.

Wasserschlangen II, 1904-07

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Moving Water (Tribute to Klimt: Chapter 2)

13/2/2022

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Bewegtes wasser (1898)

The artistic movement of the Secession, which sought to break with the classical norms of art, was at its height at the end of the 19th century. Its members, championed by Klimt himself, longed for an opening in the world of art that would allow them to create and live on it outside the great state powers, seeking their patronage in more mundane circles, as well as freer and less restricted by the censorship. Leaving government commissions aside, Gustav opens a period of transition between his classical realist stage and the incipient revolutionary modernism of Art Nouveau.

Bewegtes wasser, 1898

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Tribute to Klimt

6/2/2022

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On February 6th 1918, while the World War was approaching its inexorable end in a destroyed Europe and the Austro-Hungarian Empire was rushing its last months of life, Gustav Klimt died in Vienna victim of apoplexy.

One hundred years after Klimt's death, it would not be fair to simplify our view of his art with the premise that "all art is erotic." It is necessary to immerse yourself in the Klimtian spirit to understand that his universe is more complex and always interesting.

I have worked hard to pay direct tribute to some of Gustav Klimt's most significant pieces, giving them my vision and fusing their inspiration with my style. I hope you like this work and appreciate the effort and dedication behind it.

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Mujer con abanico - La Bailarina (Tributo a Klimt: capítulo 11)

21/2/2021

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Se percibe un aroma de dulce feminidad. Se diría que hasta el mismo pincel debió de estar enamorado."

Franz Servaes

Tras alcanzar un gran éxito y poner de acuerdo a público y a crítica con El Beso y El árbol de la vida (para los frisos del Palacio Stoclet, en Bruselas), el llamado periodo dorado de Klimt llegó a su fin. Dejando atrás las ornamentaciones recargadas, influenciadas por los mosaicos bizantinos de Rávena, a partir del inicio de la segunda década del siglo XX la producción artística del austriaco da un marcado giro hacia un estilo más fresco y colorido.