Embrace

Figure 1: Klimt, Gustav. The Kiss. 1908-1909.

Österreichische Galerie Belvedere, Vienna. The
Kiss (Lovers). Wikipedia. Web. 10 Mar. 2015.

Figure 3: Munch, Edvard. Kiss. 1897. The Munch

Museum, Oslo, Norway. Kiss - Edvard - Wikiart.org.
Figure 2: Magritte, René. Les Amants. 1928. Museum of Modern Art, New Wikiart. Web. 14 June 2015.
York, USA. The Lovers - Rene Magritte. WikiArt. Web. 10 Mar. 2015.

This comparative study explores three works from three influential artists with three very different art styles. All of the artworks that
were chosen for this study represent two individuals in a moment of affection. The purpose of this comparative study is to explore
and understand how Gustav Klimt, René Magritte and Edvard Munch portray the universal act of love and intimacy: kissing. The
three artworks presented in this comparative study are very good representations of three different art movements. These include
symbolism, surrealism and expressionism. By analyzing these works not only can we understand the feelings of the artists towards
this particular topic, but we can also understand more about how artists decide to depict their ideas depending on the time and
culture in which they lived.
 ‘Les Amants II’ by René Magritte
FIRST IMPRESSION- I find ‘Les Amants II’ very
aesthetically pleasing. I enjoy the way it is painted and how
it recalls Magritte’s art style as soon as you look at it. I
always try finding a meaning behind each artwork I see
because it makes it even more beautiful to me. As I observe
this painting, I am torn between choosing two possible
meanings that it could have. At first, I thought this painting
represented the idea of love being blind and how two
individuals can love each other no matter what they look like
and without their imperfections being an issue. Looking at
the piece for longer, I came to a second possible meaning:
maybe Magritte wanted to portray two individuals who are
not in love but are only sexually attracted to each other. The
veils cover their heads, the head is where your brain is and
where your thoughts are created and make you who you
truly are. By being covered, the Lovers are hiding who they
truly are and are exchanging a sign of intimacy only out of
lust.
Figure 2
Mini comparison - This painting depicts
the death of the painter’s mother. There
CULTURAL CONTEXT- René Magritte, a Belgian painter born in are two common aspects which link ‘Les
1898, is one of the most well known surrealist artist, along with Amants II’ and ‘L’histoire Central’: the
veil covering the character’s faces and
André Breton and Salvador Dalì. Surrealism is an art style born in
the sense of mystery created by the
the late 1910s, early 1920s, shortly after Freud’s analysis of the pieces. The veil recalls the conditions in
subconscious. Breton had a huge impact on surrealist art; in 1924 which the body of Magritte’s mother was
found in the river. However, the two large
he released “le Manifeste Surrealiste” which marked an official objects presented on the table are
date to the start of this art movement. Any form of surrealist seemingly unsuited match. This creates
representation was made in an attempt to symbolise dreams and a similar sense of mystery to that of ‘Les
Amants II’. The colour schemes of the
their complexity and highlight the illogical and free nature of the two pieces are very similar, with a
human mind (The Art Story). However, Magritte had a different consistent use of red and blue. The
approach to this representational style, representing objects in an painting techniques used are also very
similar. These similarities could perhaps
objective way but placing them in unusual situations be given by the fact that both paintings
(Calvocoressi, 5), creating juxtapositions and forcing the viewer to were done in 1928. (Herscovici)
have a second look at his artworks to discover what they truly Figure 4: Magritte, René. L'Histoire Centrale. 1928. Mabille Collection,
Rhode-st-Genèse. Pinterest. Lore Crauwels, Mar. 2015. Web. 25 Sept.
represented. Surrealist art is often rather mysterious and the 2015.
viewers are automatically interested in finding a meaning to the FUNCTION/PURPOSE- The purpose of this painting is to make
illogical representation they are presented with. the viewer reflect on what he sees. Magritte states that this
Magritte’s mother committed suicide when he was 13 painting has no specific meaning. However, the human mind
(Calvocoressi, 9). This surely impacted the way the artist urges individuals to find a meaning for what they are shown, so
interacted with reality, having a possibly negative and abnormal I think he wanted to leave it open to any kind of interpretation.
mindset which would then be portrayed in his artworks. This makes it very mysterious since we cannot have a
confirmation that the interpretation we give to it is right. The only
clear purpose of this piece is to represent a man and a woman
locked in a kiss. The purpose of the veils in this piece is
unknown, however, it is thought that the recurrence of these in
Magritte’s artworks could be associated with the death of his
mother and the way she was found, with her face wrapped in
her nightdress (Calvocoressi, 9). There are many recurring
images in Magritte’s pieces, such as jingle bells, the female
body, clouds and windows, which suggest that there is a
Figure 5: Magritte, René. Le Domaine Enchanté (III). 1953. connection between these repeated objects and his life
Matteson Art. Matteson Art. Web. 25 Sept. 2015. (Matteson Art).
 Formal qualities Movement: The path the viewer’s eyes follow
starts from the covered part of the lovers (the
Line: Some thin and straight lines are used in the background of this painting to define the edges of the space the area of emphasis), follows the outline of the
lovers are positioned in. It puts the characters into the context of a room. faces and then following each crease in the
Some contour lines are used to define the edges of the lovers faces beneath the cloths to suggest some type of
fabric until the gaze falls on the uncovered
human form is hidden underneath those veils.
Space: The space in this painting appears to be three dimensional thanks to the way it was painted using points of arms, exploring the forms present in the
lightness and darkness. This illusion creates different layers between the piece. The background was painted using artwork. The last stage in the journey of the
deeper space, while the foreground, where the two lovers are portrayed, was painted using shallow space. viewer’s eyes, is the background, where they
Value: A range of dark and light tones are present on the clothes that cover the lovers. The light hits the lovers on can observe the details of the walls containing
the left and the veils become darker as they go around the face towards the right, this makes me assume there is a the lovers.
window/source of light to the viewer’s left of the room. Mid values are present in the background to avoid making it
stand out. Figure 6
Colour: There is a rather wide range of warm and cold colours. They seem to alternate as the eye goes from the
Harmony and rhythm: in this piece, harmony is
left of the piece to the right: the cold colour of the wall, the warm colours of the woman’s arm, the cold colours of the
man’s suit and, finally, the warm tones of the red wall. achieved by the way the two heads compensate
Shape: The lovers are positive, organic forms in the foreground, while the shapes in the background are more each other and by how the two bodies interact
geometric, with straight and well defined edges. with each other in a peaceful nature. Harmony is
also achieved by the colours of the walls that
recall the colours used to represent the lovers.
red of the woman’s arm recalling the red wall.
c e
m The top white part recalling cloths and blue wall
o
n p recalling man’s outfit.
t h
r a Figure 6
a s Figure 6
s i Balance: this piece seems to be more or less
t s symmetrical with a vertical axis near the
middle, however, the line of symmetry is
Figure 6: Klimt, Gustav. The Kiss. 1908-1909. Österreichische Galerie
Belvedere, Vienna. The Kiss (Lovers). Wikipedia. Web. 10 Mar. 2015. Figure 6 slightly to the left of the painting and the right
Edited by candidate. side where the man is positioned, seems
Emphasis and contrast: The contrast in this painting is created by the light and dark values heavier since there are more lines present in
presented in it. The main contrast we can notice is the light values of the cloths compared to the dark the right section. Magritte might have wanted
fabric of the man’s suit. Other areas of contrast are within the veils themselves where they fold and to do this to illustrate the fact that this man has
shadows are created on the light fabric and the contrast between organic forms in the foreground with more power in the relationship or to show men’
geometrical shapes in the background. These factors together help to create a very obvious area of s nature and how they always seem to take the
emphasis: the lovers’ heads. The bright colours, unusual scene and organic forms make the viewer more protective, physically strong side in a
gaze at this part of the painting first. relationship.

Figure 1
FIRST IMPRESSION- I was interested in
this artwork as soon as I saw it for the first
time. I have always admired the way Klimt
uses gold in his paintings and how he
incorporates such a strong and bright tint
with other colours without it being
overwhelming.
What I also admire about this piece, is
how it seems like Klimt has used two
different art styles to complete it; a part
being very bright, decorative and full of
shapes and the other part begin a more
realistic representation of the human form.
The way the woman’s features were
painted seems rather simple, however, it
shows the woman’s characteristics very
clearly.
I admire the analogous yet vibrant colour
scheme and how the colours Klimt used
work so well with each other.
“The Kiss” by Gustav Klimt
CULTURAL CONTEXT- Austrian painter Gustav Klimt is very well FUNCTION/PURPOSE- The function of this artwork is to represent two
known for being one of the leading artists of the Symbolist and Art lovers who are lost in an erotic yet seemingly innocent moment. They kiss
Nouveau movements and in particular for the way he developed his and their position and the expression on the woman’s face suggest that they
style during his “Golden Phase”. The works of the Symbolism are separated from time. This concept is further enhanced by the fact that the
movement were mainly created to suggest ideas through specific large organic shape where the two are depicted seems to be on the edge of
symbols (Gustav Klimt Biography from 1899 to 1910). a void that is separated by space. Warm colours were used to paint this
Gustav Klimt was of great influence to the Art Nouveau movement. piece, these represent passion, love and eroticism.
Klimt was an important member of “Vienna Secession” from 1897 to The presence of gold might signify
1908. The goal of this group was to expose Austria to modern art by the importance of moments like
emphasizing the talent of unfamiliar artists who produced art that these, where physical contact is
was not conventional at the time. Klimt was a very well known and used to express affection, for two
lovers.
respected artist in Vienna and he was often commissioned to paint
This artwork is full of hidden
walls of public buildings (Vienna Secession). meanings, this was made possible
Klimt’s Golden Phase started due to his positive attitude towards his by the fact that there are many
success in the art world and is a unique and admired art style. symbols that represent different
During this period, Klimt used gold leaf in his paintings. The first ideas. Symbols are portrayed
painting with this characteristic that he made was in 1898, when through choice of colour, pattern,
use of space and style of painting.
From being aware of what these
he painted Pallas Athene symbols are, it is possible to have
(fig.8). It is very probable a clearer understanding of the
that Gustav Klimt was
inspired by his trips to Figure 7: Klimt, Gustav. The Kiss. 1908- artwork and what it’s function and
Venice and Ravenna, where 1909. Österreichische Galerie
purpose is. Symbols for eroticism
many mosaics were made Belvedere, Vienna. The Kiss
and present in churches. (Lovers). Wikipedia. Web. 10 are portrayed using the gold
Many of these mosaics were Mar. 2015. Edited by candidate. triangles on the bottom right of the
made by using gold pieces painting, the arching of the
and they must’ve impacted woman’s foot to portray pleasure
Gustav Klimt enough to Figure 8: Klimt, Gustav. Pallas and the intense gold.
influence his future artworks Athene. 1898. Wien Museum
(Gustav Klimt Biography Karlsplaz, Vienna.Gustav Klimt
from 1899 to 1910). 045. Wikimedia Commons, 27
Feb. 2014. Web. 14 June 2015.
Elements Formal qualities
Shape: A large, gold organic shape is can be seen in the middle of the painting and inside it many
Pattern: Pattern plays an important role in Klimt’s piece.
Different patterns with different colours and different
characteristics are used to cover the figures. Strong,
geometric shapes such as rectangles and circles are present. the flowers on the bottom part of this
painting are represented with organic shapes.
hard, dark rectangles and squares are used to represent
Value: This artwork mainly has light components with a few dark areas present in the shapes the nature of men and round, soft, lighter coloured
line: lines are rather visible and are used to outline the bodies of the lovers, the shape of the place they circles and ovals are used to represent the nature of
are lying in and the geometric shapes present on it. women. There is also a floral pattern on the bottom of
Colour: The colour scheme of this painting is analogous. Gold (yellow), greens, oranges, reds and the painting and a consistent style of painting is used for
browns are all present in this piece and are also side by side on the colour wheel.
the background which results in a pattern effect.
Space: All the shapes represented in this piece seem to be on the
same level. there seems to be no clear distinction between
foreground, middleground and background. Klimt used decorative
space for most of this painting however the lovers’ faces, hands and feet elude
to shallow space because of the different painting technique used..
Texture: This piece contains a variety of brushstrokes and some
parts seem like indentations on the canvas that caused Figure 9: Klimt, Gustav. The Kiss. Digital image. Figure 7
some of the paint to move, creating interesting textures Klimt - The Kiss (detail). Wikimedia Commons, 27
May 2014. Web. 14 June 2015. Balance: This piece is symmetrical with a vertical axis
within the artwork.
of symmetry, however, the left side (the man’s side) is
slightly overpowering the right side since there is more
p grass and flowers. This is a very slight imbalance and
r does not make the piece significantly asymmetrical.
e i m
m
p
n o
c v
h
e
a i m
s p Figure 7
e
i
s l n
e t Harmony: Harmony is mainly achieved by the
s analogous colour scheme. The colours work very well
Figure 7 together and do not create significant contrast within
Figure 7 Movement: the path the viewer’s eyes follow the artwork. The presence of gold throughout the
Emphasis: the area of emphasis is the starts from the lover’s faces,they then follow whole piece creates union and harmony because all
woman’s face and the lover’s hands the patterns used in the large organic shape parts of this artwork recall each other’s colours and
because it stands out since no gold was down the piece, they arrive to the woman’s style. Harmony is also created by the strong presence
used to represent the human form of the feet, they explore the flowers present on the of patterns because it is almost a theme present in the
lovers. This area is a contrast to the green body on the bottom and, finally, go
decorative nature of this piece, hence artwork
sideways to observe the brown-gold spaces
attracting the eye to look at it first. surrounding the lovers. Figure 7

Figure 3
FIRST IMPRESSION- I was mesmerised by this artwork
when I first saw it because of the very cold, dark and
intense colour scheme and the very visible brush strokes.
What is most impressive about this artwork, is that it is
clear to the viewer that this is a piece from Munch. His
style in this painting is consistent in style with most
paintings from the artist. Not only by the way he decided to
convey his ideas, but also by the way he uses brushes to
create unique brushstrokes on the canvas.
I find that the way Munch portrays the act of kissing is very
interesting and that it is also a true representation of how
one feels while kissing. When two individuals lock
themselves in an embrace, they become one unique form
and they are connected, Munch represents this in a simple
but powerful way. The simplicity of this artwork is
admirable and pleasant to observe and I enjoyed
discovering small details such as the folds of the curtains
and the patterns outside the window.
“Kiss” by Edvard Munch
CULTURAL CONTEXT- The Norwegian painter Edvard Munch was born in 1863
and was second of five children. Munch was exposed to a large amount of stress,
sadness and trauma from his early years and this impacted him as a person, but
more importantly, as a painter. Munch’s sister and mother both died of tuberculosis,
his brother died of pneumonia and another sister was institutionalized because of
her mental illness. His father later died in 1889. (Biography.com Editors)
Munch lived in France for many years where he was able to experience a different
culture and develop his unique style. Also, in France he started a series of 22 pieces
called “Frieze of life” where he represents themes such as love and death. These Figure 10: Munch, Edvard. The Scream. 1893.
National Gallery, Oslo, Norway. The Scream.
paintings were very successful and it was at this time that Munch became very well Wikipedia, 10 June 2015. Web. 14 June 2015.
known in the art world. (Biography.com Editors) PURPOSE- The purpose of this
painting is to address the feelings
From the beginning of 1900, Munch started having problems with controlling his
that two people feel as they embrace.
consumption of alcohol and soon became addicted. In 1908 he began hearing The vortex around these two
individuals suggests that they are
voices in his head, suffering from anxiety and was paralyzed on one side of his
oblivious of what is happening
body. (Biography.com Editors) around them as they are so engaged
At this stage of his life, he decided to seek for help so he decided to go live in a in what seems to be a very romantic
and passionate kiss. The high
private sanitarium until his drinking habits were close to gone, he felt better in 1909. intensity of the colours and the fact
Edvard’s life had many ups and downs and this can be seen by his different styles that these two lovers are in a room
probably suggest the idea that
and different things he decides to represent. An example could be done by moments of intimacy like these are
comparing “The Kiss”, which is a calm and joyful painting, with the famous painting private and how individuals often
what to cherish and keep them
“The Scream” which clearly describes his anxious state of mind. (Biography.com between themselves.
Editors)
 Elements-
Formal qualities Figure 11
Contrast: Contrast is present between the main
body of this piece and the small triangle of light
Shape: Organic shapes are mainly present in this piece. The lover’s faces blended with each other and their bodies
coming in through the window. Darker and less
held tightly together create the most significant organic shapes. In the background there is a hint of the presence of a
geometric shape, the window, interrupted by the curtain.
intense colours were used to paint the bodies,
Value: This piece mostly has dark values with some lighter values in the background, however, this painting remains while lighter and more intense colours were used
mainly dark. for the left part of the background. The
Line: Line is used to outline the lover’s hands and faces and the frame of the window in the background. Lines are also foreground certainly lacks contrast,giving a flat
visible on the curtain, where the lovers seem to have created a vortex around themselves. There are relatively thick impression to the piece.
lines outlining the bodies of the lovers and some lines caused probably by Munch scraping of the canvas with a hard
object are present on the bottom left part of the piece.
Colour: Dark hues such as blues, burgundies and browns were mainly used in this piece. The intensity of the colours in
this artwork is very high, this contributes significantly to its darkness. Dark values were achieved by using mostly
shades to paint this artwork with an exception being the light that can be seen outside the window, where tints were
used.
Space: Shallow space was used in this painting. The couple in the foreground is not far from the background and it
almost seems as though they blend in with it.
Texture: The evident brushstrokes do not create a significant three dimensional texture, however, they do create a Movement: The path the viewer’s eyes follows
visual texture as you observe the piece. starts from the blended faces, they follow the
lover’s hands and go in a spiral around their joint
bodies.
p
r Figure 11
h i b
a a
r
n l
m c a
o i n
n p c Figure 11
y e
l
e Emphasis: The area of emphasis is the bright
s light coming in from the window in the room. The
high contrast attracts the eye towards that
Figure 11: Munch, Edvard. Kiss. 1897. The Munch Museum, Oslo, direction, making it the first noticeable part. I find
Figure 11
Norway. Kiss - Edvard - Wikiart.org. Wikiart. Web. 14 June 2015. this interesting because the area of emphasis in
Balance: The piece is asymmetric, however there
Harmony: Harmony is achieved by the this picture is not where the main action is taking
is balance around the blended faces of the lovers,
consistent high intensity of the colours and by place, making the scene even more romantic
this is created by the two pairs of hands placed
how the two bodies interact with each other to and intimate
almost symmetrically around the heads.
become one.
 Compare and contrast- cultural context
MAGRITTE - THE LOVERS

- Surrealist piece by belgian painter. Figure 2

- Representing normal objects in unusual ways.
- Piece made in 1928.
- His mother committed suicide when he was 13 - negative
- Movement impacted by Freud’s analysis and André Breton’s
impact on artist.
“Manifeste Surrealiste”.
MAGRITTE & KLIMT & MUNCH
MAGRITTE & KLIMT MAGRITTE & MUNCH
- The style of all three of the pieces are a
- Positive background true representation of the art movement - Experienced the death of loved ones at a young age.

- Rather successful they are from.

- Mentally healthy - All made between the late 19th and the
early 20th Century.
- All three artists were European.
- Successful during life.
- Symbolist piece by austrian painter
- Expressionist piece by norwegian painter.
- Made during Klimt’s Golden Phase where he used gold leaf
- Made in 1897.
to adorn his paintings. - Went through phases which
- Abuse of alcohol and very distressed.
- Piece made between 1908 and 1909. helped them develop their unique
- Seeked for mental health assistance.
- Important member of “Vienna Secession” to create Art style (the Golden phase and
Nouveau. Frieze of Life).
- Inspired by mosaics in Venice and Ravenna
seen during trips. He was impacted by other
Figure 3
cultures. KLIMT - THE KISS Figure 1 KLIMT & MUNCH MUNCH - THE KISS
 Compare and contrast- first impression
MAGRITTE - THE LOVERS

- Looks like the lovers are in a more formal context due to the Figure 2 - Recalls Magritte’s style clearly.
clothes they are wearing. - This piece gives me the feeling that the lover’s embrace is
- Spent a long time reflecting on the meaning of this piece. more forced, staged and fake compared to the other two
artworks.
MAGRITTE & KLIMT & MUNCH
MAGRITTE & KLIMT MAGRITTE & MUNCH
- Positive reaction to pieces.
- These three paintings can all be freely
- Feeling of mysteriousness as I observe the two
- Knew of these two pieces before beginning the interpreted
pieces
comparative study. - I was aware of the existence of all three
art movements before beginning the
comparative study.

- I admire the use of gold in this piece. It makes it different - The first time I saw or heard of this painting was when I
and catches the eye’s attention. started my comparative study.
- A clear representation of Klimt’s style as I know it. - Seem like more romantic,
- I find the idea of the two lover’s faces being blended
- The idea of patterns used to symbolize other concepts is intimate and spontaneous
together very different and eye catching, I also think it is a
admirable. moments of pleasure between the
great way to represent the feeling of a romantic, private
- I enjoy the harmony and colours of this piece. lovers.
and passionate embrace.

Figure 3
KLIMT - THE KISS Figure 1 KLIMT & MUNCH MUNCH - THE KISS
 Compare and contrast- function and purpose
MAGRITTE - THE LOVERS
- Make viewer reflect on what he is seeing and from that, Figure 2 - Function and purpose remains a mystery to the viewer, however,
draw a conclusion as to what they think it represents. they can freely interpret what the artist wanted to say by painting
- Artist states that there is no specific meaning behind the this piece.
piece.
MAGRITTE & KLIMT & MUNCH
MAGRITTE & KLIMT - Representation of two lovers in the act MAGRITTE & MUNCH
of an embrace
- Mysterious representations of the act of kissing.
- Suggest romance and eroticism.
- The males seems to be more
dominant in these two pieces by
occupying more space and being taller
than the females.

- Woman seems to be leading the act of this embrace with her

- Representation of lovers that are oblivious of what is happening hands and arms guiding the position of the man.
outside of their embrace. They are ignoring space and time and - Represent lovers in a situation - Man is a strong but loving figure.
are in their own erotic world. where they have no audience. - Light coming from outside the window suggests the distance of a
- Woman’s foot position and expression suggest pleasure. - Lovers are divided and unaware possible public, making the kiss more intimate.
- Patterns on the lovers and the floral pattern at the feet of the of the outside world and act as if
large, organic form are used as symbols. they were alone.

Figure 3
KLIMT - THE KISS Figure 1 KLIMT & MUNCH MUNCH - THE KISS
 Compare and contrast- formal qualities
- Harmony achieved by colours in the background recalling
colours in the foreground.
- The cropping of the piece shows heads and bust only.
- No significant texture. Smooth application of paint.
MAGRITTE & KLIMT
- There is a clear vertical axis of symmetry close to the
middle of the piece with the men’s side slightly overpowering
the women’s side (pieces are bilateral).
- Area of emphasis is where the lovers embrace.
- Patterns are symbols for image of man, woman and the earth.
- Harmony is achieved by analogous colour scheme, the flowers on
heads recalling floral pattern on the ground and the presence of
gold throughout the piece.
- No significant contrast due to analogous colour scheme.
- Cropping shows the lover’s whole bodies.
- Mainly decorative space used.
- Could feel significant texture if you could run
finger across parts of the painting.
- Mostly light tones were used.
KLIMT - THE KISS Figure 1
MAGRITTE - THE LOVERS
Figure 2
MAGRITTE & KLIMT & MUNCH
- Movement of eyes starts from faces,
explores bodies and examines background.
- Harmony achieved by the way bodies/faces
interact with each other.
- Lovers create organic forms.
- All three pieces are oil on canvas.
- Pattern present is both pieces.
- Hands are present in both pieces
making the physical contact
Figure 3
between the lovers more real and
romantic.
KLIMT & MUNCH
- Use of straight lines in background to define edges of walls
and some used in foreground to outline lover’s heads.
- High contrast within the veils.
- Range of dark and light tones.
MAGRITTE & MUNCH
- The lover’s faces are not visible in either of these pieces.
- Shallow space is used in both pieces.
- Blues and reds were used as main colours of the works.
- Lovers are both put into the context of a room.
-Use of straight lines in background to define edges of walls
- The piece itself is asymmetrical but balance is present
around the lover’s faces
- Harmony was achieved by the consistent low intensity of the
colours.
- Cropping of the piece shows most of the bodies.
-Texture is visible, however no significant texture could
be felt if you could run finger across the paining.
- Dark tones were mostly used.
- Area of emphasis is the window.
MUNCH - THE KISS
Research Outcomes
The common theme of embrace of the three works analyzed in the previous slides
My Own Work
hides many concepts and techniques that I enjoy observing and using. Embrace
requires physical contact between two beings and, since I have always been
particularly interested in the various possible ways of interpreting this concept
utilizing human form, it was not hard for me to represent these concepts in my own
work. Human form is recurring theme in my artworks and the act of embrace is not
the only idea that I have taken from this comparative study. The three artists’ use of
colour really inspired me to make an attempt at achieving the same atmosphere and
unity of their works. Magritte, Munch and Klimt’s works were the main inspiration for
the two of my works that I will show in this section of the comparative study. I come
from a different cultural background from the artists I have studied, therefore my
pieces have a modern touch to them which is personal to my international, open
minded culture.

Figure 13: Taken by candidate

Figure 12: Taken by candidate

Figure 3 The main sources of inspiration for my own work from the three
artists I examined, are the use of colour, painting techniques
and the theme of embrace. For my first piece (Figure 12), I
Figure 2
tried to incorporate both Klimt’s use of gold and decorative
space and Munch’s brownish-red colour scheme and curved,
indefinite forms. I used inspiration from the different
representations of embrace for my second piece (Figure 13). I
decided to represent embrace in a platonic way because I find
this type of physical contact as intimate and loving as sexual
embrace. My representation of embrace in this piece is more
personal to me and innocent and related to bonds within a
Figure 1
family rather than between two lovers.
Procedure
I decided to represent this action a
way that is important to me. For
me, embrace is not just a way to
express one’s love towards
another in a sensual way, it is a
way to deeply connect with
someone and communicate
without the use of words. The
three artists I analyzed have
shown this concept in a beautiful
variety of ways and I decided to
have a go at it myself. My artwork
shows a baby clutching an adult’s
index, a very common gesture that
expresses love and shows trust.
Figure 17: taken by candidate
Figure 15: taken by candidate
Figure 18: taken by candidate
I encountered some trouble trying to
make the colours of this piece soft
and light. I had to paint over the
hands several times before I got to a
satisfying result. I like to punch in a
lot of darks in my pieces so this was
Figure 29: taken by candidate the main challenge I had to face in
the production of this artwork. In the
Figure 14: Pineta, Aldo. Baby
Holding Finger. 2015.
end I am proud of the colour scheme
that I achieved because it creates
Luxembourg. unity within the piece.
Figure 16: taken by candidate

I took inspiration from some photographs of a baby holding different finger types and I sketched different possible compositions in my journal. I chose the final
design because of the movement that the composition created and because of the way it filled the squared space. I opted for light, pastel colours because
these are the colours I associate with innocence and infancy. The decision of having a yellow colour scheme was given by the fact that I wanted this piece to
not give importance to gender in any way and yellow is a colour which is not directly associated with a particular gender.

Figure 19: taken by candidate Figure 21: taken by candidate

Figure 20: taken by candidate

Figure 6
I tried to imitate Magritte’s painting style,
keeping the brush strokes thin and
making the image clear. I also took
Figure 11 inspiration from the woman’s shoulder for
The circular movement of my piece the colour of the skin that I used.
was inspired by Munch’s ‘The Lovers’ However, I did not go as dark as Magritte
in the areas of shade to keep the tone of
Figure 7
The contact between the two hands
recalls that of Klimt’s lovers, however,
the styles and colour used to paint are
different and so is the intention of the
contact between the two individuals.
Procedure - Continued The repetition of the forms in the
background create a pattern that, in
synergy with the homologous colour
Munch and Klimt mainly inspired scheme, create unity within the
me for this piece, however there piece.
are some aspects of my artwork
that recalls concepts that are
present in Magritte’s ‘Les Amants
II’. The brown-gold colour scheme
of this piece is a synergy of Munch
and Klimt’s ‘The Kiss’. I used a Figure 23: taken by candidate
combination of decorative space Figure 25: taken by candidate
and a form going back into space
to give the piece variety but at the This artwork is bilateral, with a vertical line of
same time keeping unity between symmetry down the middle, making it
the two parts of it. balanced.
Figure 24: taken by candidate
Figure 22: taken by candidate

After finding the perfect shape for the forms in the background, I had to find a colour that would make a truthful representation of Klimt and Munch’s use of
colour in the paintings that I examined. This took several trials with different combinations of colours and brush strokes, but I eventually got a final prototype for
the forms and I was satisfied with it. The hand was painted using colours from the same colour scheme as the decorative space to create unity. Figure 6

Figure 7 Not being able to see what is in the hand creates a

Figure 6 Figure 11 sense of mystery that is also a concept which is
present in Magritte’s piece, where you cannot see
the faces of the lovers.
A combination of the concept
of Klimt’s decorative space
and use of gold and Munch
Figure 11 Figure 26: taken by candidate and Magritte’s main colours
used, allowed me to come up
The shape oval shape of the organic forms used for the with this final design which
background was inspired by the form that the two lovers was then used in my final
in Munch’s ‘The Kiss’ create by embracing. Figure 27: taken by candidate piece. Figure 28: taken by candidate
More connections to my own works.
For the self-portrait shown on this
The rectangles and triangles in my For the pattern, I used similar shapes and colours to Klimt
page, I was mainly inspired by the
own work were inspired by Gustav to symbolize very different emotions. Klimt’s shapes
coulous and painting styles used by
Klimt’s shapes and colours. These symbolize masculinity and lust, whereas my shapes were
the artists featured in this
shapes represent arrows in an used to symbolize personal emotions related to my past
comparative study more than being
abstract way, signifying movement experiences with travelling.
inspired by the theme of embrace.
and direction. They are gold
because travel is a very precious Figure 32
component in my life.

Figure 7

Figure 7

Figure 6

Once again, Klimt and Magritte’s

pieces were my main inspiration
Figure 11
for the colours used for the skin.
Klimt’s pale tins mixed with
Magritte’s use of blues and greens
allowed me to create a semi- The movement present in Munch’s piece is similar to the one
realistic representation of the present within the hair in my own piece. There are several
colours present on my face. subtle lines causing the eye to move following their direction
Figure 30 Figure 31 in both the paintings.
Bibliography
Biography.com Editors. "Edvard Munch Biography." The Biography.com Website. A&E Networks Television, n.d. Web. 26 Sept. 2015.
. <http://www.biography.com/people/edvard-munch-9418033#commercial-success>.

Calvocoressi, Richard. Magritte. London: Phaidon, 1984. Print.

"Gustav Klimt Biography from 1899 to 1910." Gustav Klimt Paintings. Klimt Museum, n.d. Web. 15 June 2015.
. <http://www.klimt.com/en/biography/1899---1910.html>.

Herscovici, Charly. "René Magritte the Central Story (1928)." Musée Magritte Museum. Dexia Collection, Sept. 2011. Web. 26 Sept. 2015. <http://www.musee-magritte-
museum.be/typo3/fileadmin/user_upload/MagritteHC-A3-EN-Web.pdf>.

Matteson Art. "Magritte's 1949-1960 Gallery." 1949-1960 Mature Period. Matteson Art, n.d. Web. 25 Sept. 2015. <http://www.mattesonart.com/1949-1960-mature-period.aspx>.

The Art Story. "Surrealism Movement, Artists and Major Works." The Art Story. The Art Story, n.d. Web. 25 Sept. 2015. <http://www.theartstory.org/movement-surrealism.htm>.

Vienna Secession. "A HISTORY." The Vienna Secession. The Vienna Secession, 04 Dec. 2011. Web. 26 Sept. 2015.
. <http://www.theviennasecession.com/vienna-secession/>.
Works cited
Figures 1: Klimt, Gustav. The Kiss. 1908-1909. Österreichische Galerie Belvedere, Vienna. The Kiss (Lovers). Wikipedia. Web. 10 Mar. 2015. <https://en.wikipedia.org/wiki/The_Kiss_(Klimt)
#/media/File:The_Kiss_-_Gustav_Klimt_-_Google_Cultural_Institute.jpg>.

Figures 2: Magritte, René. Les Amants. 1928. Museum of Modern Art, New York, USA. The Lovers - Rene Magritte. WikiArt. Web. 10 Mar. 2015. <http://www.wikiart.org/en/rene-magritte/the-lovers-
1928>.

Figures 3: Munch, Edvard. Kiss. 1897. The Munch Museum, Oslo, Norway. Kiss - Edvard - Wikiart.org. Wikiart. Web. 14 June 2015.
. <http://www.wikiart.org/en/edvard-munch/kiss-1897>.

Figure 4: Magritte, René. L'Histoire Centrale. 1928. Mabille Collection, Rhode-st-Genèse. Pinterest. Lore Crauwels, Mar. 2015. Web. 25 Sept. 2015. <https://www.pinterest.
com/pin/331859066267866592/>.

Figure 5: Magritte, René. Le Domaine Enchanté (III). 1953. Matteson Art. Matteson Art. Web. 25 Sept. 2015. <http://www.mattesonart.com/1949-1960-mature-period.aspx>.

Figures 6: Magritte, René. Les Amants. 1928. Museum of Modern Art, New York, USA. The Lovers - Rene Magritte. WikiArt. Web. 10 Mar. 2015.
. <http://www.wikiart.org/en/rene-magritte/the-lovers-1928>. Edited by candidate.

Figures 7: Klimt, Gustav. The Kiss. 1908-1909. Österreichische Galerie Belvedere, Vienna. The Kiss (Lovers). Wikipedia. Web. 10 Mar. 2015. <https://en.wikipedia.org/wiki/The_Kiss_(Klimt)
#/media/File:The_Kiss_-_Gustav_Klimt_-_Google_Cultural_Institute.jpg>. Edited by candidate.

Figure 8: Klimt, Gustav. Pallas Athene. 1898. Wien Museum Karlsplaz, Vienna.Gustav Klimt 045. Wikimedia Commons, 27 Feb. 2014. Web. 14 June 2015.
. <http://commons.wikimedia.org/wiki/File:Gustav_Klimt_045.jpg>.

Figure 9: Klimt, Gustav. The Kiss. Digital image. Klimt - The Kiss (detail). Wikimedia Commons, 27 May 2014. Web. 14 June 2015.
. <http://commons.wikimedia.org/wiki/File:Klimt_-_The_Kiss_(detail).jpg>.

Figure 10: Munch, Edvard. The Scream. 1893. National Gallery, Oslo, Norway. The Scream. Wikipedia, 10 June 2015. Web. 14 June 2015.

. <https://en.wikipedia.org/wiki/The_Scream>.

Figures 11: Munch, Edvard. Kiss. 1897. The Munch Museum, Oslo, Norway. Kiss - Edvard - Wikiart.org. Wikiart. Web. 14 June 2015.
. <http://www.wikiart.org/en/edvard-munch/kiss-1897>. Edited by candidate.

Figures 12, 13, 15, 16, 17, 18, 19, 20, 21, 22, 23, 24, 25, 26, 27, 28, 29, 30, 31, 32: Pictures of candidate’s own artwork taken by candidate

Figure 14: Pineta, Aldo. Baby Holding Finger. 2015. Luxembourg. Taken for this comparative study by a family friend.

Figure 30: Color Wheel. Digital image. Color Wheel. Kirupa, n.d. Web. 14 June 2015.
. <http://www.kirupa.com/html5/images/color_wheel.png>. Can be seen on figure 7