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Gustav Klimt "Adele" $20 3oz .999...
Gustav Klimt "Adele" $20 3oz .999 pure silver & Swarovski crystals.
Reverse shows the multicolor portrait of Adele Boch-Bauer I (1907) by Klimt and decore with 16 authentic Swarovski crystals in a proof silver coin of 3oz. Really a "Masterpiece of Art".
Series "Masterpieces of Art". Limited edition to just 1,907 pieces worldwide. With box and COA.
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|Country :||Cook Islands|
|Face Value :||20 Dollars|
|Metal :||.999 Fine silver|
|Weight :||3 oz|
|Size :||55.00 mm|
|Mintage :||1,907 pcs. worldwide|
|Series :||Masterpieces of Art|
|Certificate of Authenticity :||Yes|
|Original ETUI box/case :||Yes|
The work of the Austrian painter and illustrator Gustav Klimt (1862-1918), founder of the school of painting known as the Vienna Sezession, embodies the high-keyed erotic, psychological, and aesthetic preoccupations of turn-of-the-century Vienna's dazzling intellectual world.
He has been called the preeminent exponent of Art Nouveau. Klimt began (1883) as an artist-decorator in association with his brother and Franz Matsoh. In 1886-92, Klimt executed mural decorations for staircases at the Burgtheater and the Kunsthistorisches Museum in Vienna; these confirmed Klimt's eclecticism and broadened his range of historical references. Klimt was a cofounder and the first president of the Vienna Secession, a group of modernist architects and artists who organized their own exhibition society and gave rise to the Secession Movement, or the Viennese version of Art Nouveau. He was also a frequent contributor to Ver Sacrum, the group's journal.
Among the important decorative projects undertaken by Klimt were his celebrated Beethoven frieze, a cycle of mosaic decorations for Josef Hofmann's Palais Stoclet in Brussels (1905-09), and numerous book illustrations.
The primal forces of sexuality, regeneration, love, and death form the dominant themes of Klimt's work. His paintings of femmes fatales, such as Judith I (1901), personify the dark side of sexual attraction. The Kiss (1907-08) celebrates the attraction of the sexes; and Hope I (1903) juxtaposes the promise of new life with the destroying force of death. The sensualism and originality of Klimt's art led to a hostile reaction to his three ceiling murals Philosophy (1900), Medicine (1901), and Jurisprudence (1902) for the University of Vienna.
Klimt's style drew upon an enormous range of sources: classical Greek, Byzantine, Egyptian, and Minoan art; late-medieval painting and the woodcuts of Albrecht Dürer; photography and the symbolist art of Max Klinger; and the work of both Franz von Stuck and Fernand Khnopff. In synthesizing these diverse sources, Klimt's art achieved both individuality and extreme elegance.
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