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    Final Ee Draft PT

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    api-722849534
    The document discusses similarities between Gustav Klimt's artwork and traditional Japanese principles of design. It analyzes two of Klimt's pieces - "Hope II" and "The Kiss" - and how they relate to the Japanese concepts of dominance, composition, balance and unity, and repetition. In "Hope II", Jesus is portrayed as dominant by having followers bowing to him and taking up little space. In "The Kiss", the man initiates the kiss and is positioned slightly above the woman, representing dominance. These elements in Klimt's works parallel features found in traditional Japanese art pieces that also convey dominance through composition.

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    Final Ee Draft PT

    Uploaded by

    api-722849534
    42 views2 pages
    The document discusses similarities between Gustav Klimt's artwork and traditional Japanese principles of design. It analyzes two of Klimt's pieces - "Hope II" and "The Kiss" - and how they relate to the Japanese concepts of dominance, composition, balance and unity, and repetition. In "Hope II", Jesus is portrayed as dominant by having followers bowing to him and taking up little space. In "The Kiss", the man initiates the kiss and is positioned slightly above the woman, representing dominance. These elements in Klimt's works parallel features found in traditional Japanese art pieces that also convey dominance through composition.

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    final ee draft pt

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    The document discusses similarities between Gustav Klimt's artwork and traditional Japanese principles of design. It analyzes two of Klimt's pieces - "Hope II" and "The Kiss" - and how they relate to the Japanese concepts of dominance, composition, balance and unity, and repetition. In "Hope II", Jesus is portrayed as dominant by having followers bowing to him and taking up little space. In "The Kiss", the man initiates the kiss and is positioned slightly above the woman, representing dominance. These elements in Klimt's works parallel features found in traditional Japanese art pieces that also convey dominance through composition.

    Copyright:

    © All Rights Reserved
    Download as PDF, TXT or read online from Scribd
    Download as pdf or txt
    42 views2 pages

    Final Ee Draft PT

    Uploaded by

    api-722849534
    The document discusses similarities between Gustav Klimt's artwork and traditional Japanese principles of design. It analyzes two of Klimt's pieces - "Hope II" and "The Kiss" - and how they relate to the Japanese concepts of dominance, composition, balance and unity, and repetition. In "Hope II", Jesus is portrayed as dominant by having followers bowing to him and taking up little space. In "The Kiss", the man initiates the kiss and is positioned slightly above the woman, representing dominance. These elements in Klimt's works parallel features found in traditional Japanese art pieces that also convey dominance through composition.

    Copyright:

    © All Rights Reserved
    Download as PDF, TXT or read online from Scribd
    Download as pdf or txt
    of 2

    curved lines to represent branches of a tree.

    As these lines are not blended and quite bold, they

    do not remain straight. The chaos among the several curved lines represents the human mind and

    how it yearns to learn everything in its path1. This is connected to Kuniyoshi Chiba I Chutatsu,

    where chaos is amongst the background of the painting through perpendicular, multi-colored

    lines. Lastly, Klimt uses space the same way it is used in traditional Ukiyo-e art. In Klimt’s

    piece, Hope II, there is a singular woman (a mother) bowing her head to Jesus as a sign of

    respect. She and three other women directly below her are in this piece, yet they take up little

    space. This act is to surrender and pay respect to Jesus, allowing the followers who look up to

    him to be small by leaving space on the left and right. Because Klimt wants to portray Jesus as

    the one who holds the power, these women are mere followers surrendering their sins to him:

    allowing them to take up very little of the painting. This relates to Woman with a Lantern, and

    how she holds little importance taking up very little of the canvas and negative space

    surrounding her left and right.

    Henander-Harris, Iris “Photograph of Hope II, Henander-Harris, Iris “Photograph of

    Klimt, Gustav c. 1908” MOMA. Summer Lantern, artist: unknown c.

    Captured 2023. 1920” Ronin Gallery. Captured 2023.

    1
    Gustav Klimt. “Tree of Life, Stoclet Frieze, 1905, by Gustav Klimt. 2023
    https://www.gustav-klimt.com/The-Tree-Of-Life.jsp
    The Japanese Principles of Design and Klimt’s Art

    In Klimt’s pieces, he is heavily inspired by the Japanese principles of design such as the

    use of dominance, composition, balance and unity, and repetition. In his piece ‘the Kiss’, the

    dominance is seen as the male’s face is above the female’s with his hands holding her chin and

    head. The man is looking down at the woman with his body slightly above her, representing the

    sense of dominance in the piece as he is the one initiating the kiss. This can be related to

    Henander-Harris, Iris “Photograph of Klimt, Gustav “The Kiss” Austrian Gallery Belvedere

    Makibashira, Kuniyoshi c. 1855” 1908.

    Ronin Gallery. Captured 2023

    Kuniyoshi’s Makibashira, where the warrior's face and body are above the dragon. His

    hands are on the dragon’s face where he is anticipating his triumph. Both of these pieces use a

    higher body and specific hand placement to assert dominance. The triangular composition is

    most common in pieces conjuring respect by either a subject or the audience. The Virgin, by

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