Documente Academic
Documente Profesional
Documente Cultură
Sinaia, 2012
GUSTAV KLIMT &
KÜNSTLERKOMPAGNIE
GUSTAV KLIMT &
KÜNSTLERKOMPAGNIE
SUMAR
5 BIOGRAFIE
Biografia lui Gustav Klimt
8 BIOGRAPHY
Gustav Klimt’s biography
10 KLIMT LA PELES
Lucrarile lui Gustav Klimt si
Künstlerkompagnie
26 CATALOG
O privire in detaliu asupra tuturor
lucrarilor realizate de Gustav Klimt si
Künstlerkompagnie pentru decoratia
Castelul Peles
PELESUL IN 1883 26 CATALOGUE
Castelul Peles de la Sinaia a fost inaugurat in A detailed look at the most
anul 1883, devenind resedinta de vara a regilor Romaniei. important works Gustav Klimt and
Künstlerkompagnie painted for the
decoration of the Peles Castle
28 GALERIA DE STRAMOSI
Primul program decorativ al lui Klimt
la Castelul Peles
38 SALA DE TEATRU
Principalul program decorativ al lui
Gustav Klimt la Peles
50 GALERIA DE CÒPII
Preferinta pentru reproduceri dupa
mari maestri, marturie a gustului
istorist
CURTEA INTERIOARA 50 THE COPIES GALLERY
Curtea interioara a castelului a fost transformata la inceputul The historicist movement’s
anilor 1900 in hol de onoare, principala sala de primire a castelului, preference for reproductions of great
in cadrul amplelor lucrari de marire si redecorare ale Pelesului. masterpieces
GUSTAV KLIMT & KÜNSTLERKOMPAGNIE © Septembrie 2012 · MUZEUL NATIONAL PELES - Text si catalog: DR. RUXANDA BELDIMAN - Proiect
expozitional: RODICA ROTARESCU, MIRCEA HORTOPAN, LILIANA MANOLIU - Traducere: ALISTAIR IAN BLYTH - Design grafic: ALEXANDRU
DUTA - Fotografii: LUCIANO ROMANO, CRISTIAN POPOI - Cu sprijinul EDITURA TASCHEN, KOLN - Toate drepturile rezervate. Nicio parte a acestei
publicatii nu poate fi reprodusa in orice fel fara acordul scris al detinatorilor drepturilor de autor. - TIPARIT IN ROMANIA - www.peles.ro
ISBN 978-973-0-13404-9
4
GUSTAV KLIMT & KÜNSTLERKOMPAGNIE INTRODUCERE
KLIMT,
aniverseaza 150 de ani in 2012. Muzeul
National Peles sarbatoreste aceasta
aniversare cu o expozitie temporara
C
astelul Peleş se fără de care înţelegerea
constituie în unicul personalităţii creatoare a
depozitar din acestuia ar rămâne
România al creaţiei incompletă şi
artistice semnate fragmentară.
de Gustav Klimt, în cadrul
atelierului Künslerkompagnie.
Lucrările realizate în
intervalul 1883-1886, la
comanda regelui Carol I de
către tinerii pictori vienezi
Gustav Klimt, Ernst Klimt şi
Franz Matsch reprezintă valori
patrimoniale de excepţie ale
Muzeului Naţional Peleş.
Expoziţia de faţă oferă
prilejul contactului nemijlocit
cu opera de tinereţe a lui
Gustav Klimt şi a Companiei
artistice pe care a condus-o,
RODICA ROTARESCU
Director General al Muzeului National Peles
5
BIOGRAFIE GUSTAV KLIMT & KÜNSTLERKOMPAGNIE
DEASUPRA
Gustav Klimt, în
grădina atelierului
său
6
GUSTAV KLIMT & KÜNSTLERKOMPAGNIE BIOGRAFIE
1862 - la 14 iulie se
naste Gustav Klimt,
la Baumgarten, o
suburbie a Vienei.
Tatal sau, de profesie
BIOGRAPHY
Gustav a fost al
doilea nascut din cei
sapte copii ai familiei
I
n 1876 - la 14 ani reuşeşte artişti primesc mici comenzi: 1882 - Editorul Martin
la examenul de admitere decorări ale unor obiecte de Gerlach îi comandă lui Gustav
la “Kunstgewerbeschule” artă decorativă (porţelanuri), Klimt ilustrarea operei Alegorii
(“Şcoala de Arte Aplicate”) proiecte pentru ilustraţii, şi Embleme de Karl Weiß. Grupul
din Viena. DEDESUBT
portrete (folosind ca modele celor trei lucrează la teatrul de
1876 - 1883 frecventează pe surorile lui Klimt), etc. Cei la Reichenberg (Liberec, Cehia);
Gustav Klimt,
cursurile acestei şcoli şi, Koloman Moser trei artişti primesc apoi primele încep colaborarea cu arhitecţii
concomitent, studiază pictura în şi Joseph Maria comenzi mai serioase: realizarea austrieci, Fellner şi Helmer.
atelierul maestrului Ferdinand Olbrich, în celor patru alegorii decorative 1883 - Execută lucrări
grădina lui Fritz
Laufberger. Waerndorfer de la pentru plafonul palatului pentru cortina Teatrului
1879 - ia parte, sub Viena, cca 1898 Sturany din Viena. Naţional din Bucureşti şi pentru
îndrumarea pictorului austriac
Hans Makart, la organizarea
festivităţilor prilejuite de
aniversarea a 25 de ani de
căsătorie a cuplului imperial.
Scenele alegorice şi istorice
create au format un cortegiu
festiv impresionant, conceput
de Makart. Stilul baroc şi alegoric
al lui Hans Makart va lăsa o
amprentă asupra lucrărilor de
tinereţe ale lui Klimt.
Fratele său mai mic, Ernst,
frecventează aceeaşi şcoală de
artă. Cei doi fraţi, împreună cu
colegul lor Franz Matsch, decid
să lucreze în comun, formând
Künstlercompagnie; tinerii
7
BIOGRAFIE GUSTAV KLIMT & KÜNSTLERKOMPAGNIE
decorarea castelului regal Peleş, DEASUPRA împăratul Franz Josef, cu Crucea unei comenzi de decorare a
din Sinaia. Gustav Klimt şi de aur a Meritului artistic. plafonului scării de onoare de
1884 - Klimt pictează Emilie Flöge, Gustav Klimt, Ernst Klimt şi Franz la Kunsthistorisches Museum
în grădina vilei
lucrarea “Idila” Matsch decorează plafonul din Viena, lucrările sunt unanim
Olleander, din
1885 - Grupul realizează Attersee, foto Hans scării de onoare a Burgtheater apreciate de oficialităţi şi de
după desenele lui Makart, Böhler, 1910 din Viena. comunitatea artistică.
decoraţia vilei Hermes, de 1892 - Evenimentul cel 1892 - Intervine moartea
lângă Viena şi decoraţii pentru mai important este acceptarea tatălui şi a fratelui său.
teatrul de Stat din Fiume. Klimt
foloseşte pentru prima oară
aplicarea aurului, într-una din
schiţele sale.
1886 - Pentru decorarea
teatrului din Karlsbad (Karlovy-
Vary, Cehia), opera arhitecţilor
Fellner şi Helmer, Klimt pictează
panourile plafonului şi împreună
cu cei doi colegi, cortina.
Maniera personală în pictură
începe să se diferenţieze de
cea a fratelui său şi a colegului
Matsch. DREAPTA
1888 - Maestrul pictează Semnătura lui
Gustav Klimt
Sapho şi este distins, pentru în anul 1884
activitatea susţinută, de
8
GUSTAV KLIMT & KÜNSTLERKOMPAGNIE BIOGRAFIE
DREAPTA
Klimt cu pisica
favorită
9
BIOGRAPHY GUSTAV KLIMT & KÜNSTLERKOMPAGNIE
O
n 14 June 1862, Gustav Klimt is born models), portraits from photographs, etc. The three
in Baumgarten, a suburb of Vienna. His artists then begin to receive their first important
father, a jeweller by trade, is originally commissions: the four decorative allegories for the
from Bohemia. Gustav is the second of ceiling of the Sturany Palace in Vienna.
the family’s seven children. 1882 - Editor Martin Gerlach commissions
1876 - At the age of fourteen, he passes the Gustav Klimt to illustrate Karl Weiß’s Allegories and
entrance examination for the Kunstgewerbeschule Emblems. The three artists work on the Reichenberg
(School of Applied Arts) in Vienna. Theatre in Liberec, Bohemia, and begin their
1876-1883 - He attends courses at the collaboration with Austrian architects Fellner and
Kunstgewerbeschule and at the same time studies Helmer.
painting in the studio of Ferdinand Laufberger. 1883 - Klimt paints works for the curtain of the
1879 - Under the supervision of Austrian painter National Theatre in Bucharest and the decorations
Hans Makart, he takes part in the organisation of Castle Peleș in Sinaia.
of festivities to mark the twenty-fifth wedding 1884 - He paints Idyll.
anniversary of the Emperor and Empress. Makart 1885 - The group works on the decoration of the
designs allegorical and historical scenes for an Hermes Villa near Vienna, using designs by Makart,
impressive festive pageant. Makart’s baroque, and on the State Theatre in Fiume. For the first time,
allegorical style is to leave its mark on the early Klimt uses gold appliqué in one of his designs.
works of Klimt. 1886 - For the decoration of the Karlsbad
His younger brother, Ernst, attends the same art Theatre in Bohemia, designed by architects Fellner
college. The two brothers, along with their classmate and Helmer, Klimt paints ceiling panels and, together
Franz Matsch, decide to work together and they form with his two colleagues, the curtain. His personal
the Künstlerkompagnie. The young artists receive manner of painting begins to move away from that
small commissions: decorative objects (porcelain), of his brother and Matsch.
illustrations, portraits (using Klimt’s sisters as 1888 - Klimt paints Sappho and is awarded the
10
GUSTAV KLIMT & KÜNSTLERKOMPAGNIE BIOGRAPHY
Gold Cross for Artistic Merit by the Emperor Franz Faithful to this ideal, Klimt frees his art of all taboos.
Josef. Ernst Klimt and Franz Matsch decorate the This marks the beginning of the greatest scandal
ceiling of the main staircase of the Burgtheater in in art history, which in 1900 culminates in the
Vienna. showing of a cycle of works entitled Fakultätsbildern,
1892 - He accepts a commission to decorate the painted by Klimt for Vienna University.
main staircase of the Kunsthistorisches Museum in 1902 - At the fourteenth exhibition of
Vienna, a work unanimously praised by officialdom the Sezession, Klimt unveils his composition
and the arts community. Beethovenfries, a fresco dedicated to Beethoven,
1892 - The death of his father and brother. which marks his transition to a new phase in his
1893 - Klimt paints a picture of the theatre at work, dominated by intricate ornamentation and
Esterhazy Castle, which is awarded the first prize at explosions of light, created using encrustation and
the Künstlerhaus Exhibition. Although he has not yet gold leaf. This period in Klimt’s work will culminate
reached the age of thirty, he is regarded as one of in Der Kuss (The Kiss), in 1907-08.
Austria’s leading artists. 1917 - He is made an honorary member of the
1897 - As president of the Union of Austrian Academies of Vienna and Munich.
Fine Artists he becomes the leader of the so-called 1918 - Klimt dies in Vienna on 6 February,
Sezession, which aims to reform art according aged fifty-six, after suffering a stroke. He is buried
to new principles of expression and break away in the Hietzinger Friedhof cemetery. Otto Wagner,
from outmoded conservative ideas. The Sezession Kolo Moser and Ego Schiele, artists who had shared
Building in Vienna hosts exhibitions of work by the Klimt’s vision, pass away in the same year. It is
members of the new movement. also the year that marks the demise of the Austro-
The Sezession philosophy is a search for the Hungarian Empire.
truth of human existence. Above the entrance to
the association’s pavilion can be read the following
inscription: “To the time its art. To art its freedom.”
11
KLIMT
Atunci cand se pun in
legatura numele lui Gustav
Klimt si cel al Romaniei, ar
LA PELES
trebui sa se vorbeasca de
fapt despre Gustav Klimt
si comenzile executate de
acesta pentru Castelul Peles
12
GUSTAV KLIMT & KÜNSTLERKOMPAGNIE KLIMT LA PELES
A
ceste lucrări au DEASUPRA
fost realizate la Gustav Klimt,
comanda regelui Primăvara, 1884,
Carol I de către detaliu
tinerii pictori
vienezi, membri ai atelierului
Künstlerkompagnie, Gustav
Klimt (1862-1918), Franz
Matsch (1861-1943) şi Ernst
Klimt (1864-1892), în intervalul
1883-1886. Künstlerkompagnie
DREAPTA
a fost un atelier de pictură,
Gustav Klimt,
activ între anii 1879-1892, Primăvara, 1884,
satisfăcând comenzi de detaliu
13
KLIMT LA PELES GUSTAV KLIMT & KÜNSTLERKOMPAGNIE
14
GUSTAV KLIMT & KÜNSTLERKOMPAGNIE KLIMT LA PELES
Realizarea unor opere de până în momentul de faţă. Nici si Helmer a executat un plan
artă în colaborare, în cadrul un document de arhivă nu a pentru Castelul Foișor, Sinaia
atelierului, ridică cel puţin clarificat, până în acest moment, (1879).
o întrebare: care a fost rolul modalitatea de angajare. O altă presupunere se
fiecăruia din fraţii Klimt, ştiindu- Am dori să analizăm bazează pe informaţii culese
se că Matsch se ocupa şi de ipotezele prezenţei operei din monografia lui Léo Bachelin.
problemele administrative. lui Gustav Klimt la Sinaia. O Acesta menţionează faptul că
După cum indica Herbert primă ipoteză, avansată de Gustav Klimt, Franz Matsch
Giese , Ernst Klimt, mai tânăr şi către Alice Strobl, propune ca şi Ernst Klimt lucrau pentru
mai puţin experimentat, pare a fi personaj intermediar pe Rudolf Castelul Peleş către 1883 sub
jucat un rol subordonat, cel puţin von Eitelberger (1817-1885), comanda pictorului decorator
pentru început, în relaţia cu consilierul Curţii imperiale austriac Joseph Kott. Este
colegii săi. I se repartiza, astfel, austriece. Renumit istoric adevărat însă că nici Gustav
realizarea ancadramentelor de artă, acesta conducea Klimt în al său Curriculum Vitae
de compoziţii şi a fundalurilor. Kunstgewerbemuseum şi nici Franz Matsch în jurnalul
Gustav Klimt şi Franz Matsch şcoala omonimă din Viena. său şi nici exegeţii lui Klimt nu
elaborau, fiecare, câte un proiect El a recomandat atelierul amintesc de vreo legătură cu
al lucrării ce le era comandată. Künstlerkompagnie arhitectului firma lui Kott. În ciuda acestui
Mapele de schiţe pictate şi Karl von Hasenauer, ce fapt, pornind de la informaţia
acuarele erau supuse analizei construise Villa Hermes şi furnizată de Bachelin, putem
şi opţiunii comanditarului, care Kunsthistorisches Museum din avansa ipoteza că firma Kott
alegea fie o soluţie individuală, Viena, pentru diverse lucrări i-ar fi putut recomanda pe cei
fie una intermediară ce combina de decorare. Este cunoscut trei artişti, aceştia aflându-se
ambele proiecte. Este de faptul că împărăteasa Elisabeta în 1883 în serviciul respectivei
presupus că aşa s-a întâmplat a Austriei şi regina Elisabeta firme.
în cazul comenzii făcute de a României întreţineau relaţii În ceea ce priveşte
suveranul României şi în acest de prietenie şi se aflau în mărturiile precise privitoare la
sens ar fi necesară descoperirea corespondenţă. Este, prin comandă, singurele găsite până
schiţelor pregătitoare pentru urmare, plauzibil ca regina să în momentul de faţă la Arhivele
decoraţia de la Peleş. fi apelat la împărăteasă pentru Naţionale din Bucureşti sunt: o
Edificiul şi plastica a alege pictorii decoratori, chitanţă semnată Joseph Kott,
arhitecturală interioară a iar împărăteasa ar fi putut să referitoare la realizarea, de
Castelului Peleş fuseseră se adreseze, la rândul său, către firma acestuia, a decoraţiei
încredinţate unor arhitecţi şi consilierului Curţii, Eitelberger. pictate a Sălii de teatru - friza
decoratori austrieci şi, de aceea, O altă posibilitate ar şi pictura de plafon şi o serie
a fost firesc ca şi pentru decoraţia fi putut fi recomandarea de còpii pentru Marele salon,
picturală, să se facă apel la tinerilor artişti de către firma picturi pentru care firma a
artişti din Imperiul Austro-Ungar. de arhitecţi Fellner & Helmer, primit suma de 1886 de florini.
Filiera de recomandare prin care firmă specializată în construcţia Având în vedere faptul că
cei trei artişti vienezi au fost de teatre, pentru care decoraţia Sălii de teatru a fost
contactaţi şi au ajuns să lucreze Künstlerkompagnie realizase realizată, conform semnăturilor
pentru regele României nu a lucrări (teatrul din Brno, teatrul de pe lucrări, de Gustav
putut fi stabilită cu certitudine din Liberec etc.). Firma Fellner Klimt şi de Franz Matsch, este
plauzibil ca într-o primă etapă,
Künstlerkompagnie să fi lucrat
cu firma lui Joseph Kott . Acestui
document i se adaugă alte două
chitanţe vamale, dovedind
faptul că Gustav Klimt şi Franz
Matsch, în 1885 şi Ernst Klimt,
în 1886, depuneau la punctul
vamal al unei gări din Viena lăzi
cu tablouri, pentru a fi expediate
în România, la Castelul Peleş,
Sinaia.
STANGA
Franz Matsch, Poetul
şi poezia, 1884,
detaliu
15
KLIMT LA PELES GUSTAV KLIMT & KÜNSTLERKOMPAGNIE
16
GUSTAV KLIMT & KÜNSTLERKOMPAGNIE KLIMT LA PELES
Veneţia etc. Pinacoteca de còpii lucrare. Artiştii realizau apoi DEASUPRA bărbat de Rembrandt, original
a suveranului nu răspundea lucrarea pe pânză în culori de Gustav Klimt, Muza aflat la Kunsthistorisches
doar unor gusturi estetice, ulei, la anumite dimensiuni Melpomene, 1884, Museum, de asemenea, semnată
ea având şi un scop educativ, sugerate probabil de Carol I, detaliu pe verso. Tot de aici, Matsch
pe care regele îl promova în pentru a corespunde suprafeţei a realizat pentru pinacoteca
mod constant. Comenzile erau ce trebuia decorată. Toate regală, în acelaşi an – 1885,
realizate atât de artişti străini aceste operaţii erau executate portretul arhiducesei Marianne
(Gustav Bregenzer, Eugen în atelier, la Viena. de Austria, regina Spaniei,
Ritter Gotha, Paul Schad ş. a.), Copia Portretului Isabellei originalul fiind considerat în
cât şi români (Otilia Michail - d’Este după Tiţian, are pe verso epocă, opera lui Velasquez.
Oteteleşanu, George Bălănescu o inscripţie care ne furnizează Ernst Klimt figurează în
ş. a.). informaţia că autorul còpiei este galeria de còpii cu două tablouri:
Condiţiile pe care còpiile Gustav Klimt. Dificultăţile avute Tânăr comandant de oşti,
urmau să le îndeplinească, de Gustav Klimt în realizarea pictură realizată în 1885, după
le aflăm din notele lui Franz acestei còpii, evocate de Matsch, lucrarea omonimă de Anton
Matsch: trebuiau să fie identice erau create de materialul - van Dyck. Ecaterina Cornaro,
până în cele mai mici detalii suport al originalului (damascul) după Tiţian, este o copie datând,
cu originalul, inclusiv petele care sporea gradul de dificultate de asemenea, din anul 1885.
sau degradările de orice tip. al redării, din cauza multitudinii Inscripţia de pe verso ne indică
Cercetătorii ne propun o ipoteză de reflexe. Lucrarea a fost drept autor al originalului pe
referitoare la tehnica de lucru a realizată în 1885, cercetătoarea Paolo Veronese. Este vorba
atelierului Künstlerkompagnie. Alice Strobl menţionând faptul despre o atribuire promovată
Este vorba despre realizarea în că, în registrul de còpii de la până către sfârşitul al XIX-lea,
tehnica acuarelei, într-o primă Kunsthistorisches Museum sunt ulterior avansându-se numele
fază, a mai multor còpii de consemnate două date la care lui Antonio Badille. Începând
dimensiuni reduse, după opere Klimt a lucrat după original: 28 cu anul 1927, specialiştii şi-au
diferite. Còpiile erau trimise aprilie şi 5 iunie 1885. reconsiderat punctul de vedere,
spre examinare regelui Carol I, La rândul său, Franz Matsch a atribuind originalul lui Tiţian .
acesta alegând în final o anume realizat o copie după Portret de Tiţian şi Lavinia. Lucrarea
17
KLIMT LA PELES GUSTAV KLIMT & KÜNSTLERKOMPAGNIE
18
GUSTAV KLIMT & KÜNSTLERKOMPAGNIE KLIMT LA PELES
găseşte originea în schiţa tragică cu fundalul realizat din un traseu iniţiatic căutat de
realizată de Gustav Klimt ramuri înflorite şi vegetaţie regele Carol I, pe tot parcursul
pentru cortina Teatrului din abundentă. vieţii sale.
Liberec, Cehia (1882-1883) . 8. Muzele Terpsichore şi Picturile lui Gustav Klimt
Un element aparte îl constituie Caliope, panou amplasat în reprezentând atât efigii de
semnătura lui Klimt, diferită de apartamentul de oaspeţi de la strămoşi (Eitel Friedrich VII,
cea consacrată. etajul al II-lea al castelului, este Johann Georg, Philipp Friedrich
5. Vara. Panoul este semnat şi datat: G. Klimt / 1884. Christoph), cât şi copia după
un pandant al Primăverii, Friza a fost concepută, iniţial, ca Tiţian (Isabella d’Este), realizate
reprezentând o fetiţă cu un parte integrantă a ansamblului în manieră academistă, se
buchet de flori. Cele două decorativ din Sala de teatru. impun, ca ansamblu, prin ştiinţa
compoziţii anunţă şi ele, Compoziţia fiind însă mult mai compoziţiei, dirijarea savantă
prin atitudinea personajelor mare decât spaţiul alocat ei în a eclerajului, preţiozitatea
feminine, prin prospeţimea cartuşul de pe peretele sălii, cromatică şi, în mod particular,
elementelor decorative, în s-a decis amplasarea ulterioară prin capacitatea de sugerare a
antiteză cu patina tonurilor în apartamentul menţionat. materialităţii pieselor de armuri
cromatice din fundal, Compoziţia Terpsichore şi şi a costumelor de curte.
decorativismul caracteristic Caliope prefigurează alegoria cu Deşi a fost executat cu
Artei 1900. aceeaşi temă de la Burgtheater, şaisprezece ani înainte de 1900,
6. Muza Melpomene. Chipul executată, de asemenea, de întregul ansamblu Muze, Măşti,
muzei tragediei se aseamănă cu Gustav Klimt. Pictorul Franz Alegorii şi Embleme prefigurează,
pictura Legenda, de la Muzeul Vodak a realizat, în 1904, o printr-o serie de date stilistice,
de istorie al oraşului Viena . copie parţială a lucrării care a curentul Sezession: elemente
Reprezentată ca şi Thalia, într- fost inserată în cartuşul rămas decorative din fundal (motive
un cartuş circular, figura muzei gol. Atât în ansamblul ei, cât şi florale, baghete ornamentale
tragediei contrastează prin în detalii, copia lui Vodak nu se ce încadrează compoziţiile)
expresia dură cu cea a muzei ridică la nivelul calităţii artistice cât şi detalii de vestimentaţie
comediei, cele două panouri a originalului de Gustav Klimt. etc . Se poate spune că aceste
fiind amplasate simteric faţă Ansamblul celor opt lucrări, aparţinând primei faze
de scenă. Cei doi putti care panouri decorative Muze, măşti, din creaţia lui Gustav Klimt,
susţin medalionul, împreună alegorii şi embleme constituie, încă academiste, dar marcate
cu fundalul de viţă-de-vie, prin coerenţa internă şi prin deja de o sensibilitate modernă,
amintesc de atributele originare simbolurile căutate, unul dintre sunt interesante de analizat prin
ale zeiţei (muzica şi dansul, în cele mai importante aspecte ale distanţarea lor faţă de opera
legătură cu serbările dionisiace). creaţiei timpurii ale lui Gustav matură a lui Klimt, deja studiată.
7. Mască, flori şi dublu aulos Klimt. Primul personaj feminin
sunt atributele lui Dionisos, al frizei, precum şi ultimul, Din analiza lucrărilor executate
sugerând grotescul, spaima, pot fi asimilate Ariadnei, care de Künstlerkompagnie pentru
descătuşarea forţelor primare, conduce pe cel intrat în sala de Castelul Peleş, se desprinde figura
cu care se identifica zeitatea teatru, cu ajutorul muzelor, prin lui Gustav Klimt, în calitatea sa de
în antichitate. În acelaşi timp, lumea artelor. Prezenţa Ariadnei principal autor, atât calitativ cât
pictorul contrabalasează figura constituie un leit-motiv, precum şi cantitativ, viitorul maestru al
Sezessionului vienez situându-
se pe primul loc între membrii
atelierului Künstlerkompagnie.
STANGA
Gustav Klimt,
Personaj alegoric,
1884, detaliu
19
KLIMT AT THE PELES CASTLE GUSTAV KLIMT & KÜNSTLERKOMPAGNIE
STANGA
Gustav Klimt,
Muzele Terpsichore
şi Caliope, 1884,
detaliu
KLIMT
adviser to the Imperial Court
and director of the Museum
and School of Applied Arts
(Kunstgewerbemuseum) in
Vienna, and had visited Sinaia
K
material they include therefore
ing Carol I buildings (theatres, museums, DEDESUBT
came from direct sources.
commissioned etc.) throughout the Austro- Gustav Klimt, Mască,
Up until the study published flori şi dublu aulos,
the three young Hungarian Empire, as well as in by Austrian researcher Alice 1884, detaliu
members of other countries. Castle Peleș
the Viennese remains the most important
Künstlerkompagnie studio, Romanian storehouse of Gustav
Gustav Klimt (1862-1918), Klimt’s work as a member of the
Franz Matsch (1861-1943) Künstlerkompagnie.
and Ernst Klimt (1864-1892), The works in question are
to paint these works for his mentioned for the first time
summer residence in Sinaia in two separate monographs
between 1883 and 1886. The on Castle Peleș published in
Künstlerkompagnie studio was 1893 by Jakob von Falke and
active between 1879 and 1892, Léo Bachelin respectively. The
and received commissions to two authors had a detailed
decorate private residences knowledge of Castle Peleș.
(castles, villas) and public Jakob von Falke was an
20
GUSTAV KLIMT & KÜNSTLERKOMPAGNIE KLIMT AT THE PELES CASTLE
Strobl (1989), the two monographs were the only of city theatres from all over the Austro-Hungarian
sources to give a detailed description of the works Empire, as well as on the decoration of private
created by the Künstlerkompagnie for Castle Peleș. residences belonging to the Viennese bourgeoisie.
Falke and Bachelin state that Gustav Klimt and Franz From 1886, after creating paintings for Castle Peleș,
Matsch painted ten portraits of the ancestors of King the company worked on major decorative projects
Carol I, mentioning four of their names. They mention such as the Hermesvilla (near Vienna) of the Empress
the decoration of the Theatre Room (Gustav Klimt, Elisabeth, monumental buildings on the Ringstraße,
Franz Matsch) and the ceiling of the Grand Salon, the Burgtheater, and the Kunsthistorisches Museum.
painted by the Klimt brothers (according to Falke) or by The studio’s collaboration on joint artworks raises
Ernst Klimt alone (according to Bachelin). They make at least one question: the rôle allotted to each of the
no reference to copies after the old masters, however. Klimt brothers, as it is known that Matsch also dealt
Since the 1960s, Gustav Klimt has been regarded with administrative matters.
as the most important representative of the Sezession As Herbert Giese points out, in his relationship
movement. Austrian researchers have concentrated with his colleagues, Ernst Klimt, the younger and less
mainly on the Sezession period of the artist’s work and experienced of the brothers, seems to have played
less on his early period, when he was active within a secondary rôle, at least in the beginning. He was
the Künstlerkompagnie (1879-1892). A number of assigned work on painting backgrounds and the frames
researchers have attempted to draw up a complete of compositions. Gustav Klimt and Franz Matsch each
list of Klimt’s work: Johannes Dobay and Fritz Novotny drew up designs for the works they were commissioned
(1967), Cristian Nebehay (1969), René Passeron and to create. Folders of painted sketches and watercolours
Sergio Coradeschi (1983), et al. In studies on Klimt were presented to the patron, who would analyse
published in the 1960s, a new element appears, them before choosing either an individual proposal
connected to the works commissioned for Castle Peleș, or an intermediate solution combining the designs
namely the copies after the old masters, for example of both artists. It may be supposed that this is what
the copy of Titian’s portrait of Isabella d’Este that happened in the case of the commission made by the
hangs in the Kunsthistorisches Museum in Vienna. Romanian sovereign and in this respect what would be
It should be noted that no monograph on Franz required is the discovery of the preliminary sketches
Matsch existed until 1976, when Herbert Giese for the decorations at Peleș.
published the manuscript of his doctoral thesis, Franz The building and architectural interiors of Castle
von Matsch, Life and Work (Franz von Matsch, Leben Peleș had been assigned to Austrian architects and
und Werk). decorators and therefore it was natural that the
In her fundamental study of Klimt, Alice Strobl pictorial decorations should also be entrusted to
describes the works created by the Künstlerkompanie artists from the Austro-Hungarian Empire. Hitherto, it
for Castle Peleș. Since 1990, freedom of movement has not been possible to establish the route whereby
and access to information has enabled art historians the Viennese artists were contacted and came to work
to study Gustav Klimt’s works at Sinaia and to reassess for the King of Romania. No archival documents have
this early stage in career. yet been found that might clarify the way in which they
The works that King Carol I of Romania were hired.
commissioned the Künstlerkompagnie to paint for his I would like to analyse the hypotheses for the
summer residence in Sinaia presence of Gustav Klimt’s work in Sinaia. The first
In 1879, the year when building work on Castle hypothesis, advanced by Alice Strobl, puts forward
Peleș resumed in earnest, painters Gustav Klimt, Ernst the adviser to the Austrian Imperial Court, Rudolf
Klimt and Franz Matsch founded the Künstlerkompagnie von Eitelberger (1817-1885), as the intermediary.
studio in Vienna. Four years later, 1883, the year of the A renowned art historian, Eitelberger was the head
inauguration of Castle Peleș, the three artists received of the Kunstgewerbe Museum and School in Vienna.
an important commission, which came to fruition in For various decorative works, he recommended
the form of a series of works to decorate the summer the Künstlerkompagnie studio to architect Karl von
residence of King Carol I of Romania in Sinaia. Hesenauer, who had designed the Hermes Villa and
Between 1879 and 1883, the young painters the Kunsthistorisches Museum in Vienna. It is known
worked on another two major commissions for the that the Empress Elisabeth of Austria and Queen
construction site of the Ringstraße in Vienna, albeit Elisabeta of Romania were friends and corresponded
in collaboration with their former professors from with each other. Consequently, it is plausible that
the Kunstgewerbeschule. Along with Ferdinand the Queen may have called upon the Empress when
Laufberger they executed the graffiti he designed choosing painter decorators and that the Empress in
for the decoration of the inner courtyard of the her turn may have turned to Eitelberger, the Court
Kunsthistorisches Museum, and with Michael Rieser adviser, for a recommendation.
they worked on the stained-glass windows of the It is likewise possible that the young architects
Votivkirche. In the same period the Künstlerkompagnie may have been recommended by the architectural firm
had also collaborated with the architectural firm of of Fellner and Helmer, who specialised in designing
Fellner and Helmer from Vienna on the decoration theatres and for whom the Künstlerkompagnie had
21
KLIMT AT THE PELES CASTLE GUSTAV KLIMT & KÜNSTLERKOMPAGNIE
designed decorations (for discovered in the National DEASUPRA in three separate categories: the
the Brno Theatre, the Liberec Archives in Bucharest is a receipt Gustav Klimt, Eitel gallery of the ancestors of King
Theatre, etc.). They made the signed by Joseph Kott, which Friedrich al VII-lea Carol I, the copies after the old
blueprints for Foishor Castle, in refers to his firm’s execution of de Hohenzollern, masters, and the decoration of
1883-1885, detaliu
Sinaia (1879). a painted frieze and ceiling for the Theatre Room.
Another supposition is the Theatre Room and a series The Gallery of Ancestors
based upon the information of copies for the Grand Salon, is a programme integral to the
that can be gleaned from the for which Kott was paid the sum symbolic and political functions
monograph of Léo Bachelin. of 1,886 florins. Given the fact with which Carol I invested his
Bachelin mentions the fact that that, according to the signatures Sinaia residence. First of all, the
Gustav Klimt, Franz Matsch and on the works, the decorations Gallery of Ancestors signifies
Ernst Klimt worked on Castle for the Theatre Room were the replanting of ancestral
Peleș around the year 1883 created by Gustav Klimt and roots in the soil of the adoptive
under the direction of Austrian Franz Matsch, it is plausible homeland, a phenomenon
painter decorator Joseph Kott. It that the Künstlerkompagnie found at Castle Peleș but not at
is nonetheless true that neither may have worked, during an the Royal Palace in Bucharest. In
Gustav Klimt in his Curriculum early phase, with the firm of the second place, it attests the
vitae, nor Franz Matsch in his Joseph Kott. To this document antiquity of the Zollern family
diary, nor the exegetes of Klimt’s may also be added two receipts, of counts and subsequently the
work mention any connexion which prove that Gustav Klimt princely house of Hohenzollern
with the firm of Kott. In spite of and Franz Matsch, in 1885, and (the earliest date mentioned on
this, however, setting out from Ernst Klimt, in 1886, delivered any portrait being 948). In the
the information supplied by crates of paintings to the third place, the gallery evokes
Bachelin we are able to advance customs house of a train station the uninterrupted military and
the hypothesis that Kott may in Vienna for transportation to political traditions of the House
have recommended the three Castle Peleș in Sinaia, Romania. of Hohenzollern and, by no
artists if they were working for The decorative means least, its glorious past. All
his firm in 1883. programmes designed by the these values are illustrated in
To date, the only piece of Künstlerkompagnie for Castle the portraits of mediaeval and
definite evidence regarding Peleș Renaissance ancestors.
the commission to have been The works may be grouped From the account of Franz
22
GUSTAV KLIMT & KÜNSTLERKOMPAGNIE KLIMT AT THE PELES CASTLE
Matsch it results that King Carol achievement as the two painted the Galleria dell’Accademia
provided the painters with an by Matsch. in Venice, etc. The sovereign’s
album of sixteenth-century In accordance with a cultural gallery of copies was not only
engravings as a documentary policy specific to the nineteenth in keeping with his aesthetic
source, which included portraits century and in line with his own tastes, but also served an
of these historical figures. It taste, King Carol I created his educative purpose, which the
should be underlined that the own private gallery. It included King constantly promoted. The
granting of such a commission a collection of old paintings and commissions were awarded
by a crowned head would have a collection of copies. Copies to both foreign artists (Gustav
represented an unusual honour of works by famous artists Bregenzer, Eugen Ritter
for the three then relatively were commonplace and typical Gotha, Paul Schad et al.) and
little known Viennese artists. of the nineteenth century, Romanian artists (Otilia Michail-
The nine canvases painted representing a keen interest in Oteteleșanu, George Bălănescu,
by Gustav Klimt and Franz artworks and a taste for the old et al.).
Matsch are in oil and in the lower masters. In the absence of the We may discover the
part of the pictures can be seen famous originals, which by the conditions to be fulfilled by
the coats of arms of the nobles second half of the nineteenth the copies from Franz Matsch’s
of Zollern and Hohenzollern century were all housed in notes: they had to be identical
and those of their wives, as well prestigious museums or private with the original down to the
as a year, probably that of the galleries, copies of the old smallest detail, including stains
death of the person depicted. masters were intended to lend or other kinds of deterioration.
Four of the canvases originally the royal residence an air of The researchers have advanced
kept in the Vestibule (moveable splendour. a hypothesis regarding the
canvases) have an inscription The list of the works to be working techniques of the
between the coats of arms. copied was drawn up by the Künstlerkompagnie studio.
The portrait of Johann King and obviously reflects In the initial phase, small
Georg Prince of Hohenzollern the romantic taste of late- watercolour copies of various
is unsigned, but attributed nineteenth-century collectors, works were made. These
to Gustav Klimt. The skilled who were interested in the copies were sent to King Carol
composition, exquisiteness of Italian primitives, Venetian I for examination and the
the painting materials, learned painting, and the Spanish final selection of a particular
management of lighting effects, and Dutch schools. Between work. The artists then painted
and accurate rendering of the 1880 and 1910, King Carol I the copy in oils on canvas, to
details of the armour make commissioned copies of famous dimensions probably suggested
the painting akin to the other works from the Italian, Flemish by Carol I, in order to fit the
two portraits painted by Klimt, DEDESUBT and German schools that hang surface area to be decorated.
which flank it on the Staircase Franz Matsch, Poetul in Europe’s most important The entire process was carried
of Honour (Eitel Friedrich VII şi poezia, 1883- museums: the Kunsthistorisches out in the studio in Vienna.
and Philip Friedrich Christoph). 1885, detaliu Museum in Vienna, the The copy of Titian’s Portrait
S-a lansat ipoteza că
Comparison of the three works Gemäldegalerie in Berlin, the of Isabella d’Este has on its
sub trăsăturile alegoriei
points to the authorship of Poeziei s-ar recunoaşte Alte Pinakothek in Munich, the verso side an inscription
Gustav Klimt in the case of the chipul reginei Elisabeta Rijksmuseum in Amsterdam, informing us that it was painted
unsigned portrait.
The portrait of Eitel
Friedrich VI Count of Zollern, a
work heretofore attributed to
Franz Matsch, raises a singular
problem: in the lower right
appear two signatures: 1885
/ (Copirt) / Fr. Vodak 1904.
It is possible that due to an
accident or other unknown
causes the original painting by
Franz Matsch may have been
damaged and then copied by
Vodak and replaced, for which
reason the term Copirt appears
above the signature. In any
case, the portrait does not
attain the same level of artistic
23
KLIMT AT THE PELES CASTLE GUSTAV KLIMT & KÜNSTLERKOMPAGNIE
by Gustav Klimt. The problems that Gustav Klimt had typology of the figures, we may conclude that Science
in making this copy, which are described by Matsch, and Art is a work by brothers Gustav and Ernst Klimt.
arose from the material (damask), which increased
the difficulty of applying the paint due to the large The decoration of the Theatre Room
number of reflections. The work was painted in 1885,
and researcher Alice Strobl mentions the fact that in As we discover from Franz Matsch, for the library
the register of copies at the Kunsthistorisches Museum of Queen Elisabeta at Peleș the Künstlerkompagnie
there are recorded two dates on which Klimt worked designed a decorative ensemble made up of The Poet
from the original: 28 April and 5 June 1885. and Poetry, an allegorical painting by Matsch, and a
Likewise, in 1885 Franz Matsch made a copy of fifteen-metre frieze by Gustav Klimt.
Rembrandt’s Portrait of a Man, whose original is housed Up until the 1900s, Queen Elisabeta, a writer and
in the Kunsthistorisches Museum. The copy is likewise patron of the arts, had her own library at Castle Peleș,
signed on the verso side. In the same year and also for housed on the first floor. It is to be supposed that in
the royal gallery, Matsch made a copy of the portrait of the initial phase, between 1883 and 1884, the Queen
Archduchess Marianne of Austria, the Queen of Spain, intended a monumental decorative ensemble for the
whose original, which hangs in the Kunsthistorisches room, but the space proved to be too narrow for such
Museum, was thought to be a Valasquez at that time. a project. Finally, it was decided that the paintings of
Ernst Klimt made two copies for the royal gallery: this programme should decorate not the library, but
Young Army Commander, painted in 1885, after the the ceiling and walls of the Theatre Room.
work of the same name by Anton van Dyck. Ecaterina The paintings on the ceiling of the Theatre Room
Cornaro, after Titian, is another copy dating from the were created by Franz Matsch in 1884 and their original
same year. The inscription on the verso side gives title was The Poet and Poetry. The work is eclectic in
the author of the original as Paolo Veronese. This regard to its style, with features that prefigure the
attribution was current until the end of the nineteenth imagery and chromatics of symbolism. A version of
century, whereafter the name of Antonio Badille was the work can be found in the Gustav Klimt sketch that
advanced. But since 1927, art experts have attributed is part of a collection in Lugano. In the case of both
the original to Titian. images, Austrian researchers have confirmed that the
Titian and Lavinia. The work is listed in the Muse has the facial features of Queen Elisabeta of
museum’s records as a copy after Titian. Dr. Strobl Romania. Matsch says nothing explicit on this topic in
puts forward the hypothesis that, for the figure of his diary, however. It is possible that the commission
Titian, Ernst Klimt may have been inspired by the Self- may have included express instructions, but the fact is
Portrait housed in the Gemäldegalerie in Berlin. A not obvious in the works in question.
comparison of the portrait of Titian in the painting at The decoration of the upper walls of the Theatre
Castle Peleș and the one that hangs in Berlin reveals an Room has the title Musen, Masken, Allegorien und
obvious kinship between the two figures. On the other Emblemen (Muses, Masks, Allegories and Emblems).
hand, however, the image of Lavinia is not similar to The eight panels in oil on thick canvas, using the
any known portrait, and is sooner a manifestation of “Gobelintechnick”, were painted by Gustav Klimt and
the post-romantic taste specific to the fin-de-siècle. depict the Muses Thalia, Melpomene, Terpsichore and
The handling of the lighting, the free brushwork, and Calliope. The mythological figures alternate with the
the bouquet of roses seem to be more akin to the insignia of Apollo (the lyre) and Dionysus (the double
symbolist movement: the work is an interpretation flute and grotesque masks).
with broad leeway for originality 1. Female figure (Ariadne?). The stylistic handling
of the panel is specific to symbolism, given the
The decoration of the ceiling of the Staircase of Honour dreamy attitude of the figure, the indefiniteness of
the allegorical attributes, and the floral decorative
We do not know for sure who was the author elements, which, together with Klimt’s choice palette,
of the Science and Art decorative panel in the unequivocally herald the Sezession.
Gobelinmalereien series, but we have included it on 2. The lyre is an attribute of the god Apollo, the god
the basis of the information supplied by Jakob von of daytime, light and the arts and the chorus leader of
Falke and Léo Bachelin. Both authors mention the the Muses. Through the symbol of the lyre, in opposition
composition as a decoration for the Grand Salon, but to the emblems of Dionysus, Klimt introduces tension
differ in their attribution of the work. Falke believes and antagonism between serenity and balance, on the
it to have been painted by the Klimt brothers, while one hand, and the primal, instinctive forces of human
Bachelin considers it to be a work by Ernst Klimt. nature, on the other.
Similarities with the female figures in the Gustav 3. Thalia. The Muse of comedy is depicted within
Klimt’s Allegories and Emblems, in the castle’s a circular cartouche, with an inscription giving her
Theatre Room, may be detected. Likewise, the floral identity. The medallion is flanked by two putti with
decor has similarities with the backgrounds of Ernst the attributes of music, in an attitude that suggests
Klimt’s painting Titian and Lavinia, mentioned above. calm and joy. The décor is completed by bouquets
Given the stylistic and chromatic similarities and the of flowering roses, a reference to the ancient Greek
GUSTAV KLIMT & KÜNSTLERKOMPAGNIE KLIMT AT THE PELES CASTLE
verb from where the name of the Muse a background made up of flowering Friedrich Christoph) and his copy in
derives: thallô, “to burgeon.” branches and burgeoning vegetation. the academic manner after Titian
4. Spring. This allegorical image 8. Terpsichore and Calliope, a panel (Isabella d’Este) are impressive for
(a girl holding a laurel wreath) has its housed in the guest suite on the second their compositional skill, their learned
origin in the sketch Gustav Klimt made floor of the castle, is signed and dated: handling of lighting, their chromatic
for the curtain of the Liberec Theatre in G. Klimt/1884. The frieze was originally exquisiteness, and, in particular, their
Bohemia (1882-1883). One distinctive intended as an integral part of the ability to suggest the materiality of
feature is Klimt’s signature, which decorative ensemble in the Theatre items of armour and courtly costume.
differs from the established one. Room. Given that the composition was Although painted sixteen years
5. Summer. The panel complements much larger than the space set aside before the turn of the century, the
Spring, depicting a girl holding a for it in the cartouche on the wall of Muses, Masks, Allegories and Emblems
bouquet of flowers. By the attitude of the Theatre Room, it was subsequently series as a whole looks forward to the
the female figures and the freshness decided to place it in the guest suite. Sezession movement in a number of
of the decorative elements, in contrast The composition Terpsichore and its stylistic features: the decorative
to the patina of the colour tones of the Calliope prefigures the allegory on the background elements (floral motifs
background, the two compositions look same subject in the Burgtheater, which and ornamental wands framing the
forward to the highly decorative art of was likewise painted by Gustav Klimt. compositions) and details of costume.
the 1900s. In 1904, painter Franz Vodak made a It might be said that these works,
6. Melpomene. The depiction of smaller copy of the work, which was form the earliest, still academic stage
the Muse of Tragedy resembles the inserted into the empty cartouche. As of Gustav Klimt’s career, but already
painting Legend that hangs in the a whole and in its details, Vodak’s copy marked by a modern sensibility,
Vienna Museum of History. Portrayed, does not attain the artistic standard of are interesting to analyse given the
like Thalia, within a circular cartouche, Gustav Klimt’s original. distance that separates them from his
Melpomene with her stern expression Together, the eight decorative more thoroughly studied mature work.
contrasts with the Muse of Comedy, panels of Muses, Masks, Allegories An analysis of the works created
the two panels being positioned and Emblems, thanks to their internal by the Künstlerkompagnie for Castle
symmetrically to the stage. The two coherence and symbols, make up one Peleș reveals Gustav Klimt as the
putti who hold up the medallion, of Gustav Klimt’s most important early principal artist, both qualitatively
together with the background of vines, works. The first and the last female and quantitatively, making the future
are a reminder of the Muse’s origins figures of the frieze may be compared master of the Viennese Sezession
(the music and dance of the Dionysian to Ariadne, who, with the help of the first among the members of the
festivals). Muses, leads the person entering the Künstlerkompagnie studio.
7. The mask, flowers and double Theatre Room into the world of the arts.
flute are attributes of Dionysus, Ariadne represents both a leitmotiv
suggestive of the grotesque, terror, and the initiatory course followed by
and the unleashing of primal forces, King Carol I throughout his life.
wherewith the god was identified in Taken together, Gustav Klimt’s
Antiquity. At the same time, the painter portraits of the King’s ancestors (Eitel
counterbalances the tragic figure with Friedrich VII, Johann Georg, Philipp
25
CATALOG GUSTAV KLIMT & KÜNSTLERKOMPAGNIE
26
GUSTAV KLIMT & KÜNSTLERKOMPAGNIE CATALOG
CATALOG
KLIMT & KÜNSTLERKOMPAGNIE
O privire in detaliu asupra tuturor
lucrarilor realizate de Gustav Klimt si
Künstlercompagnie pentru Castelul Peles.
27
KLIMT IN DETALIU GUSTAV KLIMT & KÜNSTLERKOMPANIE
28
GUSTAV KLIMT & KÜNSTLERKOMPANIE KLIMT IN DETALIU
GALERIA
DE STRAMOSI
Regele Carol I a amplasat portretele stramosilor
sai din dinastia de Hohenzollern intr-un spatiu de
maxima importanta: Scara de onoare
29
CATALOG GUSTAV KLIMT & KÜNSTLERKOMPAGNIE
GUSTAV KLIMT
1. Portretul lui Fridrich I
conte de Zollern
c. 1884
30
GUSTAV KLIMT & KÜNSTLERKOMPAGNIE CATALOG
GUSTAV KLIMT
2. Portretul lui Wolfgang
conte de Zollern
1884
31
CATALOG GUSTAV KLIMT & KÜNSTLERKOMPAGNIE
FRANZ MATSCH
3. Portretul lui Burkhardt
conte de Zollern
c. 1884
32
GUSTAV KLIMT & KÜNSTLERKOMPAGNIE CATALOG
FRANZ MATSCH
4. Portretul lui Fridrich IV
conte de Zollern
c. 1884
33
CATALOG GUSTAV KLIMT & KÜNSTLERKOMPAGNIE
GUSTAV KLIMT
5. Portretul lui Eitel
Fridrich VII conte de
Hohenzollern
c. 1883-1885
GUSTAV KLIMT
6. Portretul lui Johann
Georg principe de
Hohenzollern
c. 1883-1885
35
CATALOG GUSTAV KLIMT & KÜNSTLERKOMPAGNIE
GUSTAV KLIMT
7. Portretul lui
Philipp Fridrich
Christoph principe de
Hohenzollern
1883
c. 1883-1885 c. 1883-1885
M.N.P. inv. 7230/P. 449/Ps. 129 M.N.P. inv. 7229/P. 448/Ps. 128
ulei/pânză; 250 x 95 cm ulei/pânză; 250 x 95 cm
37
CATALOG GUSTAV KLIMT & KÜNSTLERKOMPANGIE
SALA DE
TEATRU
Sala este prin excelenta spatiul artelor,
unde Regina Elisabeta era gazda
marilor artisti din intreaga Europa
38
GUSTAV KLIMT & KÜNSTLERKOMPAGNIE CATALOG
FRANZ MATSCH
10. Poetul şi poezia
Scenă alegorică
1884
Bibl.: Falke, 1893, p. 45; Bachelin, 1893, p. 72; Beldiman, 2001/2002, p. 105-106 il. [3] , 112, cat. 18; Klimt
und die Künstler-Compagnie, 2007, p. 32, 34 il; Beldiman, 2011, p. 66, 288, cat. 20
39
CATALOG GUSTAV KLIMT & KÜNSTLERKOMPAGNIE
GUSTAV KLIMT
11. Primăvara
c. 1884
Bibl.: Bachelin, 1893, p. 72; Beldiman, 2001/2002, p. 106, 112, cat. 22;
Klimt und die Künstler-Compagnie, 2007, p. 34 il; Beldiman, 2011, p.
66, 287, cat. 10
40
GUSTAV KLIMT & KÜNSTLERKOMPAGNIE CATALOG
GUSTAV KLIMT
12. Vara
c 1884
Bibl.: Bachelin, 1893, p. 72; Beldiman, 2001/2002, p. 106, 112, cat. 23;
Gustav Klimt und die Künstler-Compagnie, 2007, p. 34, il.; Beldiman,
2011, p. 67, 288, cat. 11
41
CATALOG GUSTAV KLIMT & KÜNSTLERKOMPAGNIE
42
GUSTAV KLIMT
13. Muzele Terpsichore si Caliope
1884
43
CATALOG GUSTAV KLIMT & KÜNSTLERKOMPAGNIE
GUSTAV KLIMT
15. Thalia
c. 1884
Bibl.: Beldiman, 2001/2002, p. 106, 112, cat. 21; Gustav Klimt und die
Künstler-Compagnie, 2007, p. 34 il.; Beldiman, 2011, p. 67, 287, cat. 9
44
GUSTAV KLIMT & KÜNSTLERKOMPAGNIE CATALOG
GUSTAV KLIMT
14. Melpomene
c. 1884
Bibl.: Beldiman, 2001/2002, p. 106, 107, 112, cat 24, il. [8]; Beldiman,
2011, p. 67, 288, cat. 12
45
CATALOG GUSTAV KLIMT & KÜNSTLERKOMPAGNIE
46
GUSTAV KLIMT & KÜNSTLERKOMPAGNIE CATALOG
GUSTAV
KLIMT
16. Personaj alegoric
c. 1884
GUSTAV KLIMT
17. Mască, flori şi dublu aulos
c. 1884
Bibl.: Bachelin, 1893, p. 72; Strobl, 1989, p. 34, 40, il. 3260; Beldiman,
2001/2002, p. 107, 112, cat. 25; Beldiman, 2011, p. 288, cat. 13
48
GUSTAV KLIMT & KÜNSTLERKOMPAGNIE CATALOG
GUSTAV KLIMT
18. Lira
c. 1884
Bibl.: Bachelin, 1893, p. 72; Strobl, 1989, p. 34, 40, Il. 3259; Beldiman,
2001/2002, p. 106, 112, cat. 20; Beldiman, 2011, p. 66, p. 287, cat. 8
49
CATALOG GUSTAV KLIMT & KÜNSTLERKOMPAGNIE
50
GUSTAV KLIMT & KÜNSTLERKOMPAGNIE CATALOG
GALERIA
DE CÒPII
51
CATALOG GUSTAV KLIMT & KÜNSTLERKOMPAGNIE
FRANZ MATSCH
19. Portret de bărbat
1885
52
GUSTAV KLIMT & KÜNSTLERKOMPAGNIE CATALOG
FRANZ MATSCH
20. Portretul Mariannei
de Austria, regina
Spaniei
1885
53
CATALOG GUSTAV KLIMT & KÜNSTLERKOMPAGNIE
ERNST KLIMT
21. Portret de tânăr comandant de oşti
1885
Semnat, datat pe verso, cu negru: ERNST KLIMT 1885. Inscripţie pe verso: Junger Feldherr/nach/AN-
TON van DYCK/copirt von/ ERNST KLIMT / Wien 1885
Copie după un original de Anton Van Dyck aflat la Kunsthistorisches Museum, Viena (KHM), inv. 490
Bibl.: Beldiman, 2001/2002, p. 110, cat. 13, p. 111, il. [8]; Beldiman, 2011, p. 65, 288, cat. 21
54
GUSTAV KLIMT & KÜNSTLERKOMPAGNIE CATALOG
GUSTAV KLIMT
1884
Semnat, datat pe
verso: G • KLIMT/1884
Inscripţie pe verso:
Isabella d’Este/Markgrävin v.
Mantua/nach
Tizian/copirt
v. G • KLIMT/1884
55
CATALOG GUSTAV KLIMT & KÜNSTLERKOMPAGNIE
ERNST KLIMT
23. Tizian şi Lavinia
1886
56
GUSTAV KLIMT & KÜNSTLERKOMPAGNIE CATALOG
ERNST KLIMT
Portret de bărbat
c. 1885
Ulei/pânză: 66,5 x 55 cm
57
CATALOG GUSTAV KLIMT & KÜNSTLERKOMPAGNIE
ERNST KLIMT
25. Portretul Caterinei Cornaro
1885
58
GUSTAV KLIMT & KÜNSTLERKOMPAGNIE CATALOG
ERNST KLIMT
26. Ştiinţa şi Arta
c. 1883-1885
Bibl.: Falke, 1893, p. 41; Bachelin, 1893, p. 52,57; Beldiman, 2001/2002, p. 104 - 105, 111 - 112, cat. 17; Gustav Klimt und die Künstler-Com-
pagnie, 2007, p.102, 32-33 il.; Beldiman, 2011, p. 66, p. 289, cat. 24
59
BIBLIOGRAFIE GUSTAV KLIMT & KÜNSTLERKOMPAGNIE
BIBLIOGRAFIE
60
GUSTAV KLIMT & KÜNSTLERKOMPAGNIE BIBLIOGRAFIE
Léo Bachelin, Castell Pelech, résidence d’été du Roi Istorismul şi Regalitatea, [catalog expoziţie] Muzeul
Charles Ier de Roumanie à Sinaia, ed. Firmin Didot, Naţional Cotroceni, decembrie 1998 - ianuarie 1999,
Paris, 1893 Bucureşti, 1998
61
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