Klimt, Gustav. Landscape of a Garden. 1906. Oil on Canvas. Grant, Barbara. Quiet Interference #8. 2006. Oil on Canvas.

s. Klimt, Gustav. Death and Life. 1910. Oil on Canvas.

Gustav Klimt and Barbara Grant:

A Comparative Study
Natalie Claas

My comparative study will examine the works of Austrian painter Gustav Klimt and local Wisconsin artist Barbara Grant.
Throughout this study, the composition, formal qualities and movements of the paintings Death and Life and Landscape of a
Garden by Gustav Klimt and Quiet Interference #8 by Barbara Grant will be analyzed. In addition, I will discuss common themes and
emotions conveyed throughout all works, expressing tranquility and the adoration of life through use of subject material and
technique. Lastly, I will examine the connections and sources of inspiration between my own creations and these artworks.
Analysis of Cultural Significance of Gustav Klimt
Gustav Klimt was a master of the fine arts, who applied his skills in numerous ways that
allowed him to create work that was fine, decorative, or both at once. He became one of
the most famous Art Nouveau painters, utilizing the freedom of organic and geometric
forms. His works often had free-spirited incorporation of ornate detail and design.
Gustav was also a part of the movement of Symbolism (1880 - 1910), which is noticeable
in many of his works. However, it is sometimes more mysterious to the general audience,
as the symbolism is personalized to events or occurrences of his life. Klimt created a
variety of romantic, mystical, erotic and emotional figures throughout his body of work. Klimt, Gustav. Death and Life. 1910. Oil on Canvas.

Despite his enormous talent, the work Klimt produced was often provocative, and the public would react
in opposition to his intricate works. Klimt composed many erotic depictions, without restraining the
influence of his sexual desire and appreciation upon his creations. Apart from erotic art, Klimt admired
the beauty of the female figure. While he was often criticized for the raw human attraction in his work,
today there is a large appreciation for his creations. In Death and Life, Klimt combines all of his primary
focuses into one emotional, tender painting. The raw attraction and sexuality of human beings is
portrayed through the naked entwined bodies, showing thriving life, love and the human condition that
ultimately overcomes death, through new life -- a result of our unrefined sexual desires, an infinite pattern
of reproduction. In a way, this piece serves as a justification for Klimt and his common portrayal of a
“Gustav Klimt, Death and Life.” Leopold Museum,
Leopold Museum,
www.leopoldmuseum.org/en/collection/highlights/146
forbidden spoken topic: human nature.
Analysis of Cultural Significance of Gustav Klimt
Part of Klimt’s life from 1900 forward were leisurely summers
spent on Lake Attersee in Austria. This segment of each year
was when he heavily focused on his landscape paintings,
spending time connecting with the peaceful atmosphere. Over
the numerous summers he dedicated to his landscapes, they
account for a fourth of all his creations throughout his
lifetime. The central themes were very simple and peaceful:
Lake Attersee’s shoreline, the abundant flora, grasslands and
gardens. He captured exceptional detail in each frame.
Klimt, Gustav. Landscape of a Garden. 1906. “Landscape of a Garden.” Gustav Klimt, www.gustavklimt.net/landscape-of-a-garden/.

Multiple landscapes of Klimt have been noted to have an unusual or crammed display of the land within the parameters of the canvas. His
approach to determining a scene was through a viewfinder, which is a device that creates a small, cropped window of sight that is usually cut
into a strip of cardboard or other material. None of his landscapes involve the presence of human life or fauna (with the occasional exception of
chickens). This lack of animalistic wildlife contributes a huge presence of tranquility and no real sense of time. Klimt’s collection of landscapes
follow the tradition of Austrian paintings, but adopted contemporary styles and movements personalized his work. There is a strong presence
of Impressionist influence in his landscapes, found in the repetitive use of technique. The objects, space and ground within the composition
are composed of tiny strokes and dots of color and the subject matter (in this case, trees) are flocked together and distinguished by their color.
Analysis of Formal Qualities: Death and Life
The hues that compose
Death’s cloak are dull
and dismal; the murky
blues, purples and
green provide further
symbolism for the
darkness and depravity
of death.
The skeleton form of death
is concealed by a stiff, flat
cloak. Unlike the shapely
human forms on the right,
the only body parts visible
that take on the illusion of
form are death’s head and
hands.
The background color is
Klimt establishes asymmetrical balance though isolation of composed of various green and
the two forms and the distinct space between them. These blue earth tones forms a gradient
sides are also contrasted; warm hues are emphasizing life in value. The value shifts from
and earthy, cold colors accentuating death. dark (left) to light (right),
emphasizing the obscurity or
death and the comliness of life and
how it appears to emits light.
The entangled system of human
figures is composed of bright,
rich hues and adorning
ornaments, creating dynamic
symbolism of life.
The tight cluster of people form an
organic, ovular shape. The repetition
of bare bodies and movement created
Klimt, Gustav. Death and Life. 1910. Oil on Canvas. through the curves of their forms are
“Gustav Klimt, Death and Life.” Leopold Museum, Leopold Museum,
symbolic of the flowing ‘circle of life.’
www.leopoldmuseum.org/en/collection/highlights/146.
Interpretation of Function and Purpose: Death and Life
Klimt approaches the
depiction of death and the
threat it poses with various
pronounced means of
symbolism: skeleton
features, black crosses,
dark colors, clutching a
fatal weapon.
There is strong symbolism in
the contrast between colors
that surround and compose
the individual subjects,
where life is showered with
bright hues and dark is
cloaked in murky shades.
Soft facial expressions, rosy
complexions and relaxed body
language of the entangled forms
indicate the peacefulness and
superiority of human life, unfazed
by its counterpart, death, lurking
nearby.
The cluster of human figures are
diverse in age, dominated by
women and children. It the depicts
the energy and force of life.
Woven around and between the
figures, posing in some cases as
clothing, the patterns consist of soft
Klimt, Gustav. Death and Life. 1910. Oil on Canvas. organic shapes and patterns including
direct symbolism of nature through use
“Gustav Klimt, Death and Life.” Leopold Museum, Leopold Museum,
www.leopoldmuseum.org/en/collection/highlights/146.
of flowers and rich greens.
Analysis of Formal Qualities: Landscape of a Garden
The scene captured in Klimt’s
The brushstrokes follow a painting only offers a small window
vertical trend that lends itself to of viewing for the sky in the
the presence of foreground, background, making the focus of the
middleground and background; piece the greens of the vegetation of
the limited illusion of depth is the landscape.
presented, allowing the scene to
appear large despite its cropped This landscape is composed
presentation. of warm, calm hues. Klimt
produces varying shades of
green that dominate the
piece, symbolizing the
Klimt’s landscape evokes a richness and peacefulness of
feeling of peace and serenity nature.
through the scattered dotting
of bright pastel colors that
Klimt uses various small brushstrokes
compose the wild flowers and
throughout the painting to display an
fruits of the plants within the
enormous amount of minor detail that
grass and trees.
composes every natural form within the
Klimt, Gustav. Landscape of a Garden. 1906. Oil on Canvas.
landscape of intricate design, reflecting
“Landscape of a Garden.” Gustav Klimt, www.gustavklimt.net/landscape-of-a-garden/. his intimacy with the painting.
Interpretation of Function and Purpose: Landscape of a Garden
The purposeful lack of sky included in the
landscape symbolises Klimt’s heavy
Klimt’s landscape was produced as a
presence and connectedness to Earth,
pure reflection of the tranquility of
depicting his solid thoughts as opposed to
the time he spent immersed in nature,
dreamy or trancelike peace.
depicting the detachment he
experienced from the complexities of
daily life and the passing of time. The trees were painted right off the edges of
the canvas as Klimt imitated the viewfinder
perspective to aid him in this creation to
visualize a feeling of present moment, rather
The center of the painting is left as
than a typical timeless perspective of the
the most serene and uncluttered
scenery.
section, while the borders are busy
with the lining of trees and
shrubbery, symbolic for the peace The vibrant hues used to construct this
that Klimt found at the center of scene captures the richness of the vast
everything around him and garden as it is far removed from highly
happening. populated urban environments, containing
no animalistic wildlife or human presences.
Klimt, Gustav. Landscape of a Garden. 1906. Oil on Canvas.
“Landscape of a Garden.” Gustav Klimt,
www.gustavklimt.net/landscape-of-a-garden/.
Analysis of Cultural Significance of Barbara Grant
Barbara Grant is a local Wisconsin artist who is often directed by her feelings and experiences
when producing art. Part of her development has been through her volunteer work facilitating
the art program of the Alzheimer's Association, Memories in the Making which allows those
who suffer from Alzheimer's to use watercolor paintings as a form of expression, conveying
feelings and thoughts. Exposure to a carefree community that utilized art for personal reasons
began to influence the way Grant saw the purpose of art. She became more in touch with her
inventive side. Her art began to mold into purely a reflection of herself and her experiences, and
in the process was at ease with playfulness; even mistakes could contribute.
Grant, Barbara. Quiet Interference #8. 2006. Oil on Canvas.

Grant has an abundance of skills within the visual arts field. One of her
collections is a series of 9 oil paintings, Quiet Interference, that were
composed over 12 months, a progression of her carefree exploration of
emotion and loss. After losing a couple important figures in her life,
death began to shape the style and content of her work, thus resulting in
this evolving collection. Her personal experience with death and the
human condition changes throughout the series, as the year progresses,
each one posing as a significant landmark in her journey.
Grant, Barbara. “Quiet Interference #8.” Grantview Studio, grantviewstudio.com/listing/186759244/peaceful-country-scene-75-x-10-signed.
Analysis of Formal Qualities: Quiet Interference #8.
The presence of warm hues
dominates the entire painting,
The small man-made
emphasizing a calm presence
inclusions are emphasized
and a sense of peace and quiet.
through the use of hue
and contrast; they are all
presented in a saturated,
unnatural yellow in order Grant uses the presence of
to accentuate that they are asymmetrical balance to offset
of a different system than the very different worlds -- one
mother nature. of nature and one of
industrialized man-made
existence.
The trees and shadows are
created from small, soft The figure is positioned in the
brushstrokes, that create a far right corner, indicating that
she is not the focus of this
sense of security.
painting. The environment
dominates the scene she is
enveloped in and is the most
Grant, Barbara. Quiet Interference #8. 2006. Oil on Canvas. important aspect.
Grant, Barbara. “Quiet Interference #8.” Grantview Studio, grantviewstudio.com/listing/186759244/peaceful-country-scene-75-x-10-signed.
Interpretation of Function and Purpose: Quiet Interference #8.
While the predominant concept is
This overall presence of this
nature, she incorporates manmade
piece indicates the end of her
structures, such as the winding road,
unexpected journey battling
the taped trees and the road signs. This
grief and shock, symbolized
indirect presence of man symbolizes
through quietly sunlit
connectivity to other beings, and the
atmosphere reflecting a calm
road sign is symbolic for ‘divine
summer day.
direction.’

Grant’s focus is on the

atmosphere and environment The figure huddled quietly in the
that dominates the scene, the corner symbolizes Grant’s smallness
peacefulness symbolizing the and lack of control. The presence of
tender presence of those who one peaceful figure, contently
are not tangible or visible, but isolated, represents that she is
rather all around her. reaching a level of acceptance with
regards to losing other people in her
life through death.

Grant, Barbara. Quiet Interference #8. 2006. Oil on Canvas.

Grant, Barbara. “Quiet Interference #8.” Grantview Studio, grantviewstudio.com/listing/186759244/peaceful-country-scene-75-x-10-signed.
Comparison of Formal Qualities: Klimt & Grant
Grant, Barbara. Quiet Interference #8. 2006. Oil on Canvas. Klimt, Gustav. Landscape of a Garden. 1906. Klimt, Gustav. Death and Life. 1910. Oil on Canvas.

Grant, Barbara. “Quiet Interference #8.” Grantview Studio, “Landscape of a Garden.” Gustav Klimt, “Gustav Klimt, Death and Life.” Leopold Museum, Leopold
grantviewstudio.com/listing/186759244/peaceful-country-scene-75-x-10-sig www.gustavklimt.net/landscape-of-a-garden/. Museum, www.leopoldmuseum.org/en/collection/highlights/146.
ned.

When comparing the work of Klimt and Barbara, they utilize a similar method of texturing. Through use of small brushstrokes, all
detailed scenes reflect an overwhelming sense of intimacy with the subject matter through various contexts -- life, death, peace and
quietness. They both use the presence of warm and cool hues as points of emphasis, indicating the mood and tone of the subject
matter. While Grant’s work tends to incorporate the presence of human subjects within an environment, Klimt’s work heavily focuses
on one or the other. His landscapes have a strict absence of human or animalistic life, while his work regarding people and the human
condition are heavily focused on the bodies, emotions and experiences. This is seen in Grant’s work, where one human subject is
present, whereas in Klimt’s Death and Life there in an abundance of bodies and in his Landscape of a Garden there is no human life.
Comparison of Function and Purpose
Grant, Barbara. Quiet Interference #8. 2006. Oil on Canvas. Klimt, Gustav. Landscape of a Garden. 1906. Klimt, Gustav. Death and Life. 1910. Oil on Canvas.

Grant, Barbara. “Quiet Interference #8.” Grantview Studio, “Landscape of a Garden.” Gustav Klimt, “Gustav Klimt, Death and Life.” Leopold Museum, Leopold Museum,
grantviewstudio.com/listing/186759244/peaceful-country-scene-75-x-10-sig www.gustavklimt.net/landscape-of-a-garden/. www.leopoldmuseum.org/en/collection/highlights/146.
ned.

Klimt and Grant both utilize symbolism within their work to further convey their messages. Grant’s use of boldly yellow man-made
tools symbolizes the striking presence of human direction, while Klimt uses more obvious routes of symbolism, indicating death by
means of dark hues, black crosses, and the skull, while portraying life as elemental, naked bodies bathed in warm colors. Grant’s
painting contains one small woman dominated by her surroundings, where the energy and emotion stems from the surrounding
forces in a more spiritual form. Klimt’s painting of Life and Death displays a cluster of gently intermingled bodies against a very
simplistic background, with the core of energy and emotion displayed within the physical figures - a diversity of men, women and
children.
Comparison of Material, Conceptual and Cultural Significance
Grant, Barbara. Quiet Interference #8. 2006. Oil on Canvas. Klimt, Gustav. Landscape of a Garden. 1906. Klimt, Gustav. Death and Life. 1910. Oil on Canvas.

Grant, Barbara. “Quiet Interference #8.” Grantview Studio, “Landscape of a Garden.” Gustav Klimt, “Gustav Klimt, Death and Life.” Leopold Museum, Leopold Museum,
grantviewstudio.com/listing/186759244/peaceful-country-scene-75-x-10-sig www.gustavklimt.net/landscape-of-a-garden/. www.leopoldmuseum.org/en/collection/highlights/146.
ned.

Grant’s Quiet Interference #8 belongs to a series of oil paintings that were created as a reflection of her life experiences and the role
death played in her isolation. She explored loss and emotion, and showed the journey towards acceptance through her work. The
cultural significance indicates her methods of understanding and coping with grief that overwhelms her in the sudden ‘quiet.’ In a
similar fashion, Klimt explores the intense emotions present in the experience of life and death. While Grant’s perspective of peace
focuses on individual connection with the intangible divine, Klimt’s perspective of peace within life is the beautifully chaotic
presence of community through an emotional depiction of relationships. Klimt’s landscapes have a sole focus of portraying its
calming effect on his existence, while Grant’s use of landscape represents soulful presence or a division between mental realities.
Comparison of Cultural Contexts
Grant, Barbara. Quiet Interference #8. 2006. Oil on Canvas. Klimt, Gustav. Landscape of a Garden. 1906. Klimt, Gustav. Death and Life. 1910. Oil on Canvas.

Grant, Barbara. “Quiet Interference #8.” Grantview Studio, “Landscape of a Garden.” Gustav Klimt, “Gustav Klimt, Death and Life.” Leopold Museum, Leopold Museum,
grantviewstudio.com/listing/186759244/peaceful-country-scene-75-x-10-sig www.gustavklimt.net/landscape-of-a-garden/. www.leopoldmuseum.org/en/collection/highlights/146.
ned.

Klimt’s bodies of work varied in content but often contained subject matter that during the time period was considered largely
provocative or questionable. As a result of the cultural and societal norms, the public had a wide spectrum of reactions to his work. While
Life and Death lacks the intensity of erotic content of some of his other work, it still depicts sexual desire through the entwined naked
figures, a staple in the cycle of life. The admiration of the female figure was also highly prevalent. His landscapes reflect traditional
Australian approaches as well as Impressionism. In contrast, Barbara is a modern day artist living in Wisconsin. Her work reflects the
trends and flexibilities of modern culture, where self-expression, exploration and conveyance of emotion is common. She has been
influenced by society and her lifestyle, which encouraged her to use art as a was of self-reflection and exploration of emotion.
Comparison of Use of Emotion
Grant, Barbara. Quiet Interference #8. 2006. Oil on Canvas. Klimt, Gustav. Landscape of a Garden. 1906. Klimt, Gustav. Death and Life. 1910. Oil on Canvas.

Grant, Barbara. “Quiet Interference #8.” Grantview Studio, “Landscape of a Garden.” Gustav Klimt, “Gustav Klimt, Death and Life.” Leopold Museum, Leopold Museum,
grantviewstudio.com/listing/186759244/peaceful-country-scene-75-x-10-sig www.gustavklimt.net/landscape-of-a-garden/. www.leopoldmuseum.org/en/collection/highlights/146.
ned.

Grant and Klimt both have focuses on the emotions and understandings that result from both encountering death and experiencing
life. However, their depictions take different approaches as they are influenced by different cultural periods. Grant utilizes the
dominating landscape to conveys emotional peace and content. Klimt’s portrayal of emotion indicates the juxtaposition of the two
concepts within his work. The high contrast between violent, dark death and the soft, colorfully glowing entanglement of bodies also
portrays a clash in emotion, a battle between the highs and lows of the human experience. Both Grant’s work and Klimt’s
incorporate elements of peace and serenity, which each in their own ways also depict the way they interpret loss and death.
Connection to Personal Art: Grant Are We Home Yet? Drypoint, watercolor & ink
Natalie Claas

The scene of Barbara’s Quiet Interference #8 is dominated by nature with very minimal incorporation of
industrial or man-made subject matter. The crisp yellow road sign and tape contrast the earthy, pastel
color scheme. This skewed balance is reversed in Are We Home Yet? so that the scene is primarily
industrial, with a small incorporation of nature, where the photorealistic sky is a contrasting element to
the dominant focus of the architectural indoors, enhanced by its differing medium.

#8 is primarily comprised of Presence of Figures

organic shape, with little geometric In both Are We Home Yet? And
content. Are We Home Yet? is Barbara’s #8, a restful figure sits in a
primarily comprised of geometric bottom corner of the frame. Barbara
precision, where hard shape presents a full form facing away from
constructs the architecture of the the viewer in a reflective manner.
room. These elements of emphasis There is only a half-form extending
reveal cultural context of the from the corner in Are We Home
compositions. Her work is Yet? with facial exposure that reveals
reminiscent of a universal mental that the figure is sleeping.
resting place through the outdoors; Photography was used here in
my work emphasizes the indoors contrast with the ink and paint
and is reminiscent of a modern, mediums to emphasize realness,
concrete safe space. while #8 is a consistent medium (oil)
Grant, Barbara. Quiet Interference #8. 2006. Oil on Canvas. through and though.

Strong asymmetrical balance is a similarity between #8 and my own drypoint, both being top-heavy in their natural horizontal divide. This fold allows for foreground, middle ground,
and background to be distinguished more readily, and provides the feeling of depth that is experienced when presently observing a scene. They both are characterized by lighter values
that create a sense of natural daylight. The color schemes are congruent, dominated by various shades of blue and green hues. The foregrounds are similar in color as well; the sandy
ground and the carpeting both translate as a soft beige. There are highlights of color, small bursts of bold variation that allow for symbolic emphasis within the piece. Red and yellow
are prominently contrasted with the natural color schemes. In #8, it is used to emphasize the small elements of industrial subject matter. In Are We Home Yet? the suspended shapes
drifting in through the window are red and yellow for emphasis as well, symbolic of the elemental experience felt at home.

Grant, Barbara. “Quiet Interference #8.” Grantview Studio,

grantviewstudio.com/listing/186759244/peaceful-country-scene-75-x-10-signed.
Connection to Personal Art: Grant

The resting form

in the corner of
both pieces.
Positions are both
reflective of
thoughtful states.
Both are looking
out at another
large concept,
symbolic of
different focuses.

Grant, Barbara. Quiet Interference #8. 2006. Oil on Canvas. Woman and Crowd, Triptych - Natalie Claas

Formal Qualities
In Grant’s painting, nature dominates over the human presence. This proportion of subject matter is quite the opposite in Woman and Crowd, in which the dominant emphasis is
human presence with the environment left undefined. The importance stressed in #8 is on the experience of the person, whereas in my own piece the purpose is to emphasize the
person of the experience. Woman and Crowd is a 3 panel set , known as a triptych, that stages the progression and evolution of the individual. #8 is a single canvas and is meant to
depict a stillness, and a lack of change. The sweeping texture of the leaves of all the trees in barbara's piece creates a leisurely arching movement throughout the greenery. Grant’s piece
is smoother as the brushstrokes flow into one another. The texture of Woman and Crowd is more choppy, where blending is left rougher. However, both create a sense of
movement. My triptych has a purposefully streaky blue background that almost mimics the vertical falling motion of water. They both incorporate highlights of yellow that draw
movement throughout the piece as speckled points of emphasis.

Grant, Barbara. “Quiet Interference #8.” Grantview Studio, grantviewstudio.com/listing/186759244/peaceful-country-scene-75-x-10-signed.

Connection to Personal Art: Klimt
Unnatural, bright colors are blocked and
patched to produce the human forms in
Woman and Crowd, similar to the colorful
figures in Klimt’s painting. In contrast, his
texture of skin is much more smoothly blended
and soft. Intentional space is created through
the positioning of people, where separation is
emphasized by background between subject
A similarity between Death and Life and Woman
matter. This is also symbolic spacing, to
and Crowd is that the functionality of symbolism
separate concepts and stages. Klimt uses space to
is blunt and simple. Both works are dominated by
isolate depictions of life and death, while
only the presence of human life. Klimt’s painting
Woman and Crowd, Triptych - Natalie Claas separation of figures in Woman and Crowd
approaches the concept of life and community
symbolizes steps in the evolution of the self.
through the soft entanglement of bodies, but
Klimt’s subject matter continues off the edges of
emphasizes this as life in juxtaposition to death.
the frame and appears cropped in presentation,
Woman and Crowd is a triptych that depicts the
while the triptych has a purposeful top fourth
individual and the impact of one’s community -
remaining empty space.
the creation of all aspects of the self. There is
further emphasis through use bright hues.
However, Klimt used soft, warm colors to depict
the affection of human life, while I utilized heavy,
saturated hues to symbolize the permeation of
society and experience.

“Gustav Klimt, Death and Life.” Leopold Museum, Leopold Museum, www.leopoldmuseum.org/en/collection/highlights/146.
Klimt, Gustav. Death and Life. 1910. Oil on Canvas.
Connection to Personal Art: Grant & Klimt
Grant, Barbara. “Quiet Interference #8.” Grantview Studio,
grantviewstudio.com/listing/186759244/peaceful-country-scene-75-x-10-signed.
“Landscape of a Garden.” Gustav Klimt, www.gustavklimt.net/landscape-of-a-garden/.

Materials Function and Purpose

● This piece is presented through the medium of ● Text was essential for emphasizing repetitive
photography and digital manipulation. This is jarring dialogue and voices within the
a highly modernized medium of art in contrast reoccurring dreams - a crucial, vivid element of
with Landscape of a Garden and #8, both of trauma.
which are free-handed paintings. ● Photoshop allowed for personalization of
● Both text and image are combined for a final context beyond that of what other mediums
presentation in Sleep Well, unlike the could through it’s photo-accuracy and
compositions of either of my inspirations distinction.
which rely solely on image for symbolic ● I relied heavily on experimentation and
interpretation. continually manipulated the work overtime
● Photoshop was chosen due to it being a more without it being finalized or unchangeable.
readily accessible canvas and accurately The final product is the accumulation of many
displaying clean clips of images. reflective adaptations.
Sleep Well,photography & digital manipulation - Natalie Claas
Cultural Context Cultural Context
- Klimt spent relaxed summers in - #8 is the eighth composition from
Austria on a lake. This annual a series of nine called Quiet
portion of his time was when he Interference, composed as an
concentrated on his landscape evolution of Grant’s intimate
paintings, spending time exploration of emotion and sorrow
connecting with the tranquil after experiencing the death of loved
environment. ones. Her personal experience with
- I worked on this digital death and the human condition
manifestation of my fears and changes throughout the series.
experiences to process it as I - I have one final product that
awakened each night. stands for my accumulated
- Both were used as a reflection of evolution of emotional experience
a reoccuring exposure. in one frame.
Klimt, Gustav. Landscape of a Garden. 1906. Grant, Barbara. Quiet Interference #8. 2006. Oil on Canvas.
Connection to Personal Art: Grant & Klimt
grantviewstudio.com/listing/186759244/peaceful-country-scene-75-x-10-signed.

Grant, Barbara. “Quiet Interference #8.” Grantview Studio,

Formal Qualities
In #8, Landscape of a Garden, and Sleep Well, there is an emphasis on texture.
There is meaningful overlap and density of color and the various shades within.
While my inspirations achieve this through brushstroke, Sleep Well takes on a
new texture through use of the blur tool on photoshop. The shades of green are
swirled and the captured precision of texture and form of the photo is
intentionally degraded. The textures also contribute the an arching/sweeping There is a quiet figure shared in
visual movement throughout both #8 and Sleep Well.All pieces are dominated both #8 and Sleep Well that
by hues of green, but vary is degree of warmth and coolness. All three pieces similarly rest in the lower right Grant, Barbara. Quiet Interference #8.
present objects of naturally defined yellow hues as highlights and points of corner of the frame. Both are
emphasis. presented full-body, facing away
from the viewer. However, the
figure in Sleep Well is turned away
The repetitive use of text is meant to from the scene in avoidance
depict the different layers of experience, instead of peacefully observing it.
emotion, and the repetition of the dream The back of the figure is
content itself. It draws emphasis upon juxtaposed with a forward facing
itself as it mimics the behavior of a glitch, head to emphasize the unnatural
in which error attracts attention. I wanted discomfort of facing fears.
to create the presence of movement, as if
the vision of the viewer is subtly shaking Sleep Well - Natalie Claas
Function and Purpose
or doubling. This was also used through
The emphasis on the scene and location in Sleep Well is a product of being present in at the
the staggering of the scenic photo, five in
physical location it took place itself, as Klimt’s landscape is characterized. However, like Grant’s
total that are stacked in the form of a
series, the place itself is visited through mental capacity and reflection. The yellow duckling is
symmetrical pyramid. Additionally, this
symbolic of the preservation of serenity and innocence, light in opacity and left in washed-out
photo is left in poor quality and blurred
hues. The hands placed in bottom left and right corners is the natural area in which one would
by movement which causes the overall
hold a photo. They are left in full exposure, in which prominent texture is revealed of the skin
sensation of unsteady, alarming bodily
patterns and hair. It symbolizes the realness of the perspective of the viewer looking in, emphasizes
behavior.
their certainty.
“Landscape of a Garden.” Gustav Klimt, www.gustavklimt.net/landscape-of-a-garden/. Klimt, Gustav. Landscape of a Garden.