Gustav Klimt. The Kiss. (1907-1908). Symbolism.
Between 1906 and 1909 Gustav Klimt, symbolist Austrian painter and graphic designer, representative of the " Art nouveau " Viennese, seeks another expressivity for his painting. It takes as a starting point the symbolism and the Japanese prints. Art must have a new definition in the company and this research is expressed here with the Kiss. Its art is made of modernity and a very close connection with the erotism. The artist seeks to give a dimension almost crowned to his painting. It is the topic of the pressure in love. A couple is intertwined on a floor of flowers resembling a meadow, it is wrapped in a full gilded clothing. The decoration of this cape, with the image of a mosaic, varies according to the sex : black and white rectangles for the man, of the coloured circles and the flowers for the woman. Of this emergent unit heads and the hands which constitute the expression of a great intimacy. The knelt woman gives herself to her companion the closed eyes and lets herself go to the passion of the love. Picture evokes a world of harmony where the couple is isolated in sublimation from the feeling in love, being unaware of the real-world and evolving in an unreal and idealized world makes of a great power in love. Klimt compared the sexual pleasure to the artistic joy and gave him a spiritual dimension. It was also attached to the representation of the ideal beauty. The Kiss is most famous painting of Klimt, and one generally regards it as the top of its “gilded period”. Period when the geometrical reasons threatened to absorb the human factor. But Klimt manages here to maintain balance.
The couple evolves on a floor of flowers or a meadow which seems located at the edge of the vacuum. It is apart from time and of the space, put except for the pressure and the expression of the feeling in love nothing exists and for this reason there is no space in this painting.
The pressure is centered on the 4 natural points of interest of the painting to the intersection of the 4 tension fields of picture. It is the principal subject of this framing makes it possible to aspire instantaneously the glance towards this interlacing of the couple.
The distribution of the forms in pictorial space is harmonious. Full spaces and empty spaces balance perfectly on the picture.
Picture is built on the large downward diagonal from left to right. The guiding lines of the body of the young woman evoke the abandonment, those of the body of the man are not or not very apparent. The border between the male and female reasons on the cape wrapping the couple is clear, marking the difference of the sexes.
The geometrical reasons which decorate the coat of with dimensions of the man are rectangles dark and clear, they represent powerful male symbols.
The expression of the face of the young woman evokes the abandonment and pleasure. The position of the face of the man who embraces it lets appear much ardor. Nevertheless the hands of the man surrounding the face of his partner evoke much tenderness.
The reasons for the cape rolled up around the character with dimensions female consist of flowers and circles. These symbols point out femininity and maternity. The shape of an open flower is a powerful symbol of female sexuality. When in the vicinity a right-angled symbol quite as powerful and phallic of male sexuality is it is possible to guess the intentions of the artist. A powerful erotic allusion to sexuality.
Light : The light comes from in top on the left.
Colors : Harmonize between hot colors.
The carryforward of the colors used to make the painting on the chromatic circle indicates a great harmony between very hot colors which express passion in love.