Malcesine am Gardasee (Malcesine on Lake Garda)

Malcesine am Gardasee (Malcesine on Lake Garda): Gustave Klimt

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Art Type: Oil Painting
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Gustave Klimt Oil Painting - Malcesine am Gardasee (Malcesine on Lake Garda)

Keywords: Malcesine, Gardasee, Malcesine, Lake, Garda

Work Overview: Malcesine am Gardasee (Malcesine on Lake Garda)
Measures: 110 x 110 cm
Technique: Oil on canvas
Depository: Destroyed by a fire set by retreating German forces in 1945 at Schloss Immendorf, Austria.

This painting originates from the same point of view as the painting 'Kirche in Cassone' from the peninsula of Val di Sogno. After 30 years Klimt once again uses human figures as staffage in a landscape.

Malcesine is a comune (municipality) in the Province of Verona in the Italy|Italian region Veneto, located about 120 km northwest of Venice and about 40 km northwest of Verona. Malcesine lies on the shores of Lake Garda.

Main sights
Its most prominent landmark is the Castello Scaligero, which has 13th-century fortifications and an older medieval tower. Remnants of an Etruscan civilization|Etruscan tomb have been found within the castle walls. The castle was fortified by the della Scala family who ruled the region throughout the 13th century. Other sights include the pieve of St. Stephen (8th century), the church of Santa Maria di Navene (11th century) In 1786, Goethe was questioned by the local magistrate on suspicion of being a spy while drawing sketches of the castle. The German writer recalled the incident in his report about the Italian Journey. Behind Malcesine rises the 2218 meters high Monte Baldo. A cable car with rotating cabins takes passengers to 1750 meters above the sea level. From there the highest point can be accessed by walking few kilometers to the south along the ridge.

In 1913 Klimt broke with his annual three-month visit to Attersee spa in the Austrian Alps, and went to the Italian Lake Garda instead, possibly under the increasing influence of Egon Schiele, who preferred to travel abroad. Whether as a result of the change of light or scenery, this work amply demonstrates its superb effect on him. As in Austria, Klimt paints the scene from a boat out on the water, yet the dramatic distinction of this landscape is the transformed handling of subject-matter, panorama, lighting, and form. It is a wonderful light, expansive work unlike the usual claustrophobic style of his typically intense Austrian scenes. The atmosphere is of life and frivolity rather than the somber, emotionally charged visions of home.

Some critics point to Cubism as the agent of change. Klimt came into contact with the movement during recent trips to Paris where works of Palbo Picasso and Georges Braque were on display. Schiele's own landscapes during this period certainly explore a more Cubist approach and both artists probably discussed the dynamic implications of this new formal esthetic. But in Klimt's case, comparison with Cubism is stretching a point. Here its influence was only experimental and conducted in a casual, limited fashion. Sadly, this singular work was also destroyed in the Schloss Immendorf fire.

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