Bulletin 17, 1971

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Gustav Klimt's "Hope I"

by Johannes Dobai  

Pages  1  |  2  |  3  |  4  |  5  |  6 

Notes

29 Coll.: Oslo kommunes Kunstsammlinger. A drawing for it is in the Munch Museum, Oslo. See also Edvard Munch: das zeichnerische Werk (Bremen: Kunsthalle, 1970), no. 39, fig.27.

30 See Munch's beliefs cited in Goesta Svenaeus, Edvard Munch: Das Universuln der Melancholie (Lund, Sweden, 1968), p. 120.

31 Franz Servaes in Stanislaw Przybysewsky, ed., Das Werk des Edvard Munch (Berlin: S. Fischer, 1894), p. 36.

32 Illustrated in The International Studio, vol. 2 (1897), p. 90. 

33 See James T. Demetrion: "Egon Schiele-Paintings", in Gustav Klimt and Egon Schiele, (New York: The Solomon R. Guggenheim Museum, 1965), p. 66.

34 For the "Four" and Vienna, see Thomas Howarth, Charles Rennie Mackintosh and the Modern Movement (London: Routledge and Kegan Paul, 1952); Stephan Tschudi Madsen, Sources of Art Nouveau, trans. by Ragnar Christophersen (Oslo: H. Aschehoug, 1956); Robert Macleod, Charles Rennie Mackintosh (London: Country Life, 1968); and Nebehay.

35 See Novotny-Dobai, no.129. Since then a drawing has turned up that may have originated in 1903, but which Dr. Alice Strobl dates "about 1906". See Gustav Klimt [und] Egon Schiele. ...Zeichnungen und Aquarelle (Vienna: Albertina, 1968), no. 66, repr.; better plate in Nebehay, p. 429, fig. 534 (as "about 1906-08").

36 Gustav Klimt [und] Egon Schiele (Albertina), no. 65, repr. 

37 See Gustav Klimt: Handzeichnungen (Salzburg: Galerie Welz, 1964), no. 29, repr. (as "about 1903").

38 Historisches Museum der Stadt Wien, Inv. No. 74930 / 138. 

39 Coll.: Neue Pinakothek, Munich. The painting is based on a poem by Christina Rossetti.

40 Klimt also stylized faces in a manner similar to Khnopff. Compare portrait of Emilie Flöge (1902) with photographs of the model, in Nebehay, ch. XXI.

41 Novotny-Dobai, no. 124.

42 Maurice Exsteens, L'oeuvre gravé et lithographié de Félicien Rops (Paris, Editions Pellet, 1928), nos. 406 and 897.

43 These events may be studied in the wealth of material gathered by Alice Strobl and Nebehay. Novotny-Dobai also contains a short summary in the biographical section.

44 Novotny-Dobai, no. 102.

45 Novotny-Dobai, no. 127 and pl. 38.

46 Novotny-Dobai, p. 329 (from the catalogue of the Beethoven Exhibition).

47 Novotny-Dobai, no. 95.

48 The Depths of the Sea. See Otto von Schleinitz, Burne-Jones (Bielefeld and Leipzig: Velhagen & Klasing, 1901), fig. 89.

49 See Hevesi's interpretation in "Das Haus Waerndorfer", p. 223.

50 Concerning these heads by Schiele, see Johannes Dobai, "Egon Schiele's Jüngling vor Gottvater knieened", Jahrbuch des Schweizerischen Instituts für Kunstwissenschaften (Zürich, 1970), pp. 53-68.

51 Novotny-Dobai, pl. 37.

52 Novotny-Dobai, no. 183.

53 See the interpretation by Richard Meister; "Zur Deutung des Deckengemaldes im Festsaale der Akademie der Wissenschaften und der Klimtschen Fakultatsbilder", Anzeiger der philosophisch-historischen Klasse der iisterreichischen Akademie der Wissenschaften (Vienna), vol. 23 (1947), pp. 218 ff.; also published as an offprint (Vienna: Rohrer, 1947). Another interesting interpretation is given by Werner Hofmann, Gustav Klimt und die Wiener jahrhunderttvende (Salzburg: Galerie Welz, 1970), pp. 22 if

54 Novotny-Dobai, no. 61. See also photographs and pictures of the sisters Flöge in Nebehay, especially pp. 20 and 271.

55 Novotny-Dobai, no. 155.

56 A drawing Gustav Klimt [und] Egon Schiele (Albertina), no. 65, repr., throws some light on the origin of the idea for the painting. Here the pregnant woman is seen in a semi-transparent dress, but, as in the painting, her breasts are uncovered. The position of the hand is still that of Hope I.

57 See Dobai, "Zu Gustav Klimt's Gemalde Der Kuss", pp. 83-142.

58 Novotny-Dobai, no. 220.

59 Gustav Klimt: 70 bedeutende Zeichnungen (eine Nachlese) (Vienna: Nebehay, 1963), nos. 23 and 24; Gustav Klimt: Handzeichnungen (Salzburg: Galerie Welz), no. 23; (all three drawings illustrated). The third drawing is also illustrated in Novotny-Dobai, p. 48, and exhibited in the summer exhibition of the Mercury Gallery, London, 1971, no. 146.

60 See Gustav Klimt-Ausstellung, Stock Catalogue no.61 (Berne: Klipstein & Kornfeld, 1957), no. 14, repr. No. 13 is also a study in which the features are a self-portrait.

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