Gustav KlimtØstrig, 1862–1918Blühender Mohn
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Österreichische Galerie Belvedere
Wien, Østrig
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- 27. sep. 2026
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About the painting
Wie ein blühender Wandteppich wirkt dieses Gemälde. Es ist ein flimmerndes Geflecht aus leuchtenden Tupfen, in dem das Rot des Mohns als tragende Farbe hervorsticht. Kein Sonnenlicht ist erkennbar und auch kein Schatten, vereinzelt nur Konturen von Bäumen und am hohen Horizont ein grauer Streifen des Himmels. Die Strahlkraft des französischen Impressionismus hat Klimt zu Bildern wie diesem inspiriert. Doch vermittelt seine Mohnwiese statt eines flüchtigen Seherlebnisses genau das Gegenteil – nämlich das Harmonische und ewig Gültige der Natur. Klimt malt das Bild in der Umgebung des oberösterreichischen Attersees, wo er ab 1900 alljährlich seine Sommerfrische verbringt.
Österreichische Galerie Belvedere
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Imens i livet hos Gustav Klimt
Hele livet1900–1907
He returns the advance and keeps the paintings
The state commission refused to accept the three “Faculty Paintings”; Klimt told the minister he would return the 60,000-krone advance, refused to work for the Austrian state again and kept the pictures. The ministry demanded them, but Klimt did not open the door to the removal men — and the affair ended in his victory.
1905
Klimt and his group leave the Secession
Klimt and his “stylist” followers, who held that art should enter every sphere of life, fell out with the “naturalists”; the decision against Klimt's group was carried by a single vote. For the next three years the group had no joint exhibitions.
1906
The “Kunstschau” group
A year after the split Klimt formed the “Kunstschau” group, or “Klimt group”, which included Carl Moll, Otto Wagner and other leading Austrian artists.
1908
Klimt defends Kokoschka
The public and critics fell on the debutant Oskar Kokoschka so fiercely that the scandal of the “Faculty Paintings” came to mind; Klimt did not turn away from his pupil and defended his place in the show even if it were to be closed. Hevesi granted him talent but denied him taste; Klimt replied that art has nothing to do with taste.
1 June – 16 November 1908
The first Vienna Art Show
For the sixtieth anniversary of Franz Joseph's reign pavilions with 54 rooms were built on a temporary site and over 900 works shown. Room 22, which Peter Altenberg called “the church of modern art named after Gustav Klimt”, held “The Kiss”, “Adele Bloch-Bauer I”, “Danaë” and “The Three Ages of Woman”.
1909
The second Vienna Art Show
The second generation of modernists was represented by Kokoschka and Egon Schiele, and Klimt showed “Judith II” and “Hope II”. The works of Van Gogh, Munch, Gauguin, Vallotton, Bonnard and Matisse gave him the impulse for a new phase, but he never organized exhibitions again.
