Sydney Sun Kappa 5/10/08

Creative Expression Reflection Gustav Klimt projects emotions extremely well. When the rest of the painting is stripped away, there is always a very clear point of view or emotion. But, at the same time he does not rely on solely on the emotion, placement, angles, shading, colors, and textures are all in his arsenal that works toward projecting the basic emotion that he is trying to put forth and that emotion is the umbrella concept that shadows over the entire piece, its the connective string that holds it all together. I think that, because, of his style and how culminating it is, what I mean by that is he takes all of these different designs and colors and puts them together and makes one comprehensive piece. I chose to take on his style I instantly took more responsibility for it and knew that I had to thoroughly examine what emotion Klimt was trying to portray in his painting "The Kiss" and "Porträt der Eugenia (Mäda) Primavesi". "The Kiss" is painted with different shades of gold, and has a bunch of different shapes and colors. Both the Intimidating and attractive quality of this painting is the subtle differences in the shades of gold and bronze, and how the entire painting is sheened with a layer of gold. All of the colors that are used for the flowers and the squares regardless if it's black, blue, green, red, or white it all has a warm undertone even if it is a cool color. The execution of this box was done with paper towels, a medium soft

brush, a small angled brush, an extremely small pointed brush, my fingers, and water. I started first and foremost by sketching the painting on to my box. I had decided to have my image wrap around my box so I had to divide the painting into 4 quadrants. After I had successfully transferred the painting onto my box, I thought about how I was going to execute the box. I knew A large portion of the box was getting the different shades of gold to match up and look like a subtle transition from a black based gold into a pure bright gold. I executed that effect was a mixed a bunch of different shades of gold in small quantities. I started with 4 different types of gold and I painted them on and where the 2 gold’s would meet I would swirl the 2 colors together, let it dry it and then put a thin sheen of the 2 gold’s on again, and finally when that all dried I put a sheen of the bright gold mixed with water because it lightened both the color and intensity of the other shades of gold, and the bright gold also sparkled and that gave the box and extra dimension. I was also conscious that each of the brushes created different stroke marks in the paint, so I tried to make the feeling behind the strokes match the overall feelings, which is a very soft, ethereal, subtle, but commanding and powerful presence. So, I brushed in both circular and jagged directions. And at some points I would use paper towels or my fingers to smudge the intersections of some stroke lines, which gave my box extra depth and dimension. After I had finished "The Kiss" I became more familiar with how I was going to achieve the execution of the paintings. I also became more familiar with Klimt's style of painting technically and physically. I learned how to paint the shapes and how to high light and make the shapes pop. The dimension and depth that I got from using stroke

lines. Physically I was exhausted, it is such technical painting, shading, and color mixing that I was tired. After I had finished "The Kiss", the 4 sides of the box were done and I started on "Porträt der Eugenia (Mäda) Primavesi". But, what I had to do before that was that because I had decided to put this painting on the top of my box the girl was going to be divided in half. So, like I did with the other painting, I divided the girl in half and sketched her on to the top of my box. I used the same tools and most of the same techniques. Except, the difference now was that I was mixing different shades of pink and a light cream color. This painting had a very different feeling behind it, it was a lot more forceful, and even though the painting called for extremely soft and subtle colors the way they were used was in a very forceful manner. When I painted the background, I used all jagged, vertical, and horizontal lines, when I was done with this painting, I also sheened it with gold. So that it would tie in with the rest of the box. Also, the cream color that I used on the woman in "the kiss" I also used on the girl. I finished the underside of the box in a black gold that matched the black gold that I used as the borders for "the kiss". This project was given to us before winter break, and I worked on all through the break. I didn't set definite benchmarks for myself because a lot of how my time was allotted deepened on what technique I had to use and what portion of the box I was working on because some had to dry and some didn't, some need for mixing or blending. But, the one benchmark that I did give myself was that I had to finish my box before winter break was over. But, I guess each of the individual tasks and steps that I took can be considered benchmarks. For example, it took me a while to find my perfect shades of

gold, because black is such a strong color; I had to be very careful using it. After that, it was a matter of figuring out the formulas of the color mixing. I'm not the most patient person, but I knew that I had to outline all of the flowers, shapes, and all of the faces and facial features. My pointy brush was also flimsy, so it would bend and that would create a fat line, and so I would have to wipe off the entire line I was working on--otherwise it wouldn't look congruent--and start over. But, I knew that this painting meant a lot to me and so I just kept going at it. But, I did really enjoy the process; I would paint for 3 hours straight and sometimes more. I didn't know much about copyright laws, so I didn't feel any of the restraints of those laws. Actually, my goal was to replicate the painting as closely as possible. I got feedback from Kim Jensen. I had a lot of issues with the girl that was on top of the box and figuring out the specific shade of pink and how to paint with "perspective" --to make the painting look a lot deeper--. But, in the end a lot of it was done on my own because I did all of it beside a few tweaks during break. Individually I think "the kiss" represents an overwhelming and enraptured love that can be present between a man and a woman, and that love is encompassed in a kiss. The other painting, I think shows that everyone in a sense has something to bring to the world, and that even youth can be stern and forceful, or that the girl is in defense of the nature, the natural world. Beside the obvious, which is that I recreated the paintings, I think that I am present in the paintings because they are both ideas that I want. Some point in my life I want to experience that type of rupturing love, and on the other hand I want to defend the natural world and the people of the world.

The kiss was painted during a time of conservatism. Klimt put himself out there to depict different sides of human behavior. At the same time he entered a lot of different fazes in his painting. "The Kiss" was part of his golden age. I also think that Klimt's love life also affected how he painted because he might have felt overwhelming love and he knew how to translate that onto the painting. And that love combined with

conservatism made him paint the way he did. I know that Klimt explored sexuality, and liked to bring a lot of his concepts back to nature. Which I think is the reason why he has the girl defending nature, or that youth represents nature because they haven't lived that long and haven't been influenced by rules or things that were created by man. And so, if youth should be taken seriously then nature should be as well, which ties into Kilt’s views of going back to nature. I am happy that I got the same feeling and emotions in my recreations. I am also proud of the fact that I figured out techniques and color formulas that worked for my box. I am also happy with the fact that I didn't settle, I kept on working at it until I felt like it was perfect and that I was thoroughly satisfied with it. There isn't anything that I would change about my box because I like how it turned out; I wouldn't want it any different. I personally feel like this box was the first time that had tried and worked so hard on an artistic piece. Also, that I had built the confidence to even take on Klimt. I don't think that a critic can compare my work because it is a recreation, and that there isn't as much definition in my work than in Klimts, especially the one of the girl. But, in the end I think that I chose and recreated a work that I can thoroughly comprehend and feel and want and that also represents me, and most importantly I did it well.