![]() Outstanding examples from the Leopold Collection include On Lake Attersee (1900), in which Klimt reached the limits of abstraction, and The Great Poplar II (Rising Thunderstorm) (1902/03), which emerged over the course of his annual summer sojourns in the Salzkammergut. ![]() In addition to the launch of his “Golden Period” and his renowned decorative-ornamental representations of women from the Viennese bourgeoisie, Klimt discovered the landscape as yet another cherished motif in his painting practice. In 1897 he resigned from the academic Künstlerhaus and, together with a group of like-minded artists, founded the trailblazing Union of Austrian Artists - Secession, acting as the group’s first president. Formulated for the University of Vienna’s Great Hall, Klimt’s radical designs for the Faculty Paintings triggered a veritable scandal, while at the same time advanced him as a pioneer of Austrian Modernism. In the mid-1890s, his path led him to reject this initial phase to go on to develop a highly individualistic style. ![]() Klimt’s artistic beginnings were initially steeped in the traditions of the Gründerzeit and historicism and included commissions carried out by the studio collective known as the ‘Künstlercompagnie’ (Artists’ Company) that he founded with his brother Ernst Klimt and Franz von Matsch, as well as realistic portraits such as Young Girl Sitting from 1894 (part of the Leopold collection). Alongside Egon Schiele, Gustav Klimt (1862–1918) is another turn-of-the-century pioneering art figure, whose oeuvre is represented at the Leopold Museum by pivotal works. ![]()
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