Klimt's Studies for "Fulfillment" in the Stoclet Frieze and the Painting "The Kiss"

In his drawings for the Stoclet Frieze and "The Kiss" Klimt manages the tightrope walk between sensuousness and formal discipline with supreme legerity

Nine Cartoons for the Execution of a Frieze for the Dining Room of Stoclet House in Brussels: Part 8, Fulfillment (Lovers) (1910–1911) by Gustav KlimtMAK – Museum of Applied Arts

In the mosaic frieze for the dining room in the Palais Stoclet in Brussels, the figure of Expectation is spatially opposed to Fulfillment's embracing lovers.

Embracing Couple (Study for "This Kiss to the Whole World" of the "Beethoven Frieze") (1901) by Gustav KlimtAlbertina Museum

Through this polarity Klimt refers back to the Beethoven Frieze in which humanity finds redemption through the ideal union of man and woman. Within the standing naked pair of lovers composition, the muscular back of the man dominates.

Nine Cartoons for the Execution of a Frieze for the Dining Room of Stoclet House in Brussels: Part 8, Fulfillment (Lovers) (1910–1911) by Gustav KlimtMAK – Museum of Applied Arts

The man's backside also dominates in the mosaic frieze. Here, however, the lovers are wrapped in long decorated robes.

Standing pair of Lovers, Seen from the Side (1907-1908) by Gustav KlimtAlbertina Museum

Only a few of the preparatory studies directly refer to the compositions of "Fulfillment" in the Stoclet Frieze and in the 1908 painting The Kiss. Most of the drawings of pairs of lovers are independent and predominantly serve to internalize the subject.

The Kiss (1908-1909) by Gustav KlimtBelvedere

The drawings mostly have a loose relationship to the main work The Kiss, in which the man bends and lowers himself over the kneeling woman.

Standing pair of Lovers, Seen from the Side (1907-1908) by Gustav KlimtAlbertina Museum

The 1907/08 studies of pairs of lovers show a wide spectrum of stylistic methods and psychological nuances. the main subject of these drawings is—in contrast to the completed works—a subtle give and take between the partners.
Through spontaneous and confident lines in blue pencil, Klimt captures the moment in which a man in profile lifts the knee of his partner who leans against his chest.

In this nuanced constellation, accents such as the man's supporting hands or the tender touch of the two heads emerge with psychological clarity.

Standing Pair of Lovers, Seen from the Side (1907-1908) by Gustav KlimtAlbertina Museum

Related to both "Fulfillment" and The Kiss is the drawing of a pair of lovers standing in profile. Due to its small size and precise execution, and combined with the subtle use of gold and watercolors, it gains a special status.

In this picture, the interlocking forms of the woman's arms wrapped around the man with striking angles and the rectangular kimono sleeve dominate. The heads which harmoniously cling together make oblique reference to the final arrangement in The Kiss.

The sweeping contour of the bare buttocks stands out from the decorative environment with finesse.

Here too Klimt establishes psychological and erotic accents. He emphasizes the tensed hands of the woman and their rhythmical harmony with the broadly embracing gesture of the man.

In this work, created as part of a dedication album, both the implied abyss and the backdrop filled with spiral shapes in a pillar formation refer to the painting The Kiss. In turn, the lovers are related to the standing pair in "Fulfillment" through their statuesque character.

Two Male Heads in Profil Perdu (Studies for "The Kiss") (1907-1908) by Gustav KlimtAlbertina Museum

The few studies relating directly to the painting The Kiss include the sheet with two detailed sketches for the man's stooped, partly hidden profile.

In the final painting, Klimt does away with the small beard present here. The sharpness of the drawn outlines corresponds to the prominent contours of the suntanned face in the oil rendering, which stands out succinctly from the mask-like paleness of the woman's visage.

The Kiss (1908-1909) by Gustav KlimtBelvedere

Credits: Story

The ALBERTINA Museum, Vienna

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