plate no. 5485
The Kiss
Gustav Klimt, 1908
recreation guide
The Kiss (1908) is a defining work of Gustav Klimt’s 'Golden Phase,' characterized by the unprecedented integration of gold leaf into oil painting to create a flat, decorative surface that evokes Byzantine mosaics and medieval illuminated manuscripts (Source 1, Source 2). The artwork captures the fin-de-siecle spirit through opulent, sensuous imagery, blending Art Nouveau organic forms with a simplified composition influenced by Japanese prints (Source 1). The painting is noted for its lack of traditional perspective and depth, prioritizing pattern and symbolic ornamentation over realistic spatial representation (Source 1, Source 2).
estimated time
40-60 hours over 8-12 sessions (due to the complexity of applying gold leaf and the slow drying time of oil layers required for 'fat over lean' application)
materials
7 items
steps
6 in sequence
materials
| item | purpose | modern equivalent |
|---|---|---|
| Gold leaf (23-24 karat) | To create the background and decorative elements, mimicking Byzantine mosaics and medieval gold-ground paintings. | Standard gold leaf sheets or gold leaf flakes. |
| Oil paints (Yellow ochre, vermilion, ultramarine, white, black) | For underpainting, flesh tones, and clothing details. Klimt’s palette often relied on strong contrasts and symbolic colors. | Artist-grade oil paints. |
| Linseed oil | Medium to thin paints and ensure proper drying ('fat over lean' rule). | Refined linseed oil. |
| Mineral spirits or turpentine | Solvent for cleaning brushes and thinning initial layers. | Odorless mineral spirits. |
| Canvas or wood panel | Support surface. Klimt often used canvas for large works. | Primed linen or cotton canvas. |
| Charcoal or thinned paint | For initial sketching of the composition. | Vine charcoal or diluted oil paint. |
| Size (rabbit skin glue or acrylic gesso) | To prepare the surface for gold leaf adhesion. | Acrylic gesso or traditional rabbit skin glue. |
preparation
surface prep
Prepare the canvas with a smooth ground. Klimt’s work requires a flat surface to accommodate the application of gold leaf, which recalls the flatness of Byzantine mosaics he admired in Ravenna (Source 1). Ensure the surface is sealed and dry before applying any size for the gold leaf.
underdrawing
Sketch the simplified composition using charcoal or thinned paint (Source 6, Source 7). Klimt’s composition is noted for its simplicity and departure from traditional Western canons, with the man’s head ending very close to the top of the canvas (Source 1). The figures should be tightly embraced, occupying the central space with minimal background detail.
underpainting
Apply a monochrome underpainting (grisaille) to establish values and forms. This technique allows for the subsequent glazing and scumbling of colors, a method practiced by old masters and applicable to Klimt’s layered approach (Source 8). The underpainting should capture the basic shapes of the figures and the flow of the drapery.
color palette
Gold
Gold leaf
Background and decorative patterns on clothing, evoking Byzantine mosaics and medieval art (Source 1).
Yellow/Ochre
Yellow ochre, cadmium yellow
Flesh tones and warm highlights, consistent with Klimt’s use of warm, sensuous colors (Source 1).
Red/Vermilion
Vermilion, alizarin crimson
Accents in the woman’s dress and floral motifs, providing contrast to the gold (Source 4).
Blue/Ultramarine
Ultramarine, phthalo blue
Cool shadows and accents in the man’s robe, creating chiaroscuro effects through juxtaposition (Source 4).
White
Titanium white, lead white
Highlights and mixing to adjust tone and value (Source 4).
composition
The composition is simplified, with the figures centrally placed and the background reduced to a flat, decorative field (Source 1). The man’s head is positioned very close to the top edge of the canvas, a departure from traditional Western canons influenced by Japanese prints (Source 1). The embrace is tight, emphasizing the intimacy and the symbolic nature of the kiss, potentially referencing mythological narratives like Apollo and Daphne or Orpheus and Eurydice (Source 1).
step by step
underdrawing→underpainting→first pass→refining→finishing→varnishing
underdrawing
step 01
Sketch the figures using charcoal or thinned paint, ensuring the man’s head is near the top edge and the composition is simplified.
Tip — Keep lines loose; Klimt’s style favors organic, flowing forms over rigid realism.
Initial sketching
underpainting
step 02
Apply a monochrome underpainting to establish values and forms, focusing on the contrast between light and shadow.
Tip — Ensure the underpainting is completely dry before proceeding to avoid muddying the colors.
Grisaille
first pass
step 03
Apply the first layer of oil paint, using the 'fat over lean' rule to ensure proper drying. Start with the background and large areas of clothing.
Tip — Use thinner paint for initial layers and gradually increase the oil content in subsequent layers.
Fat over lean
refining
step 04
Glaze and scumble colors to build up depth and luminosity. Use transparent coats of color to enhance the golden brilliance.
Tip — Glazing adds transparency, while scumbling adds semi-opaque texture, allowing the underlying layers to show through.
Glazing and scumbling
finishing
step 05
Apply gold leaf to the background and decorative elements. Use size to adhere the leaf, then burnish for a smooth finish.
Tip — Work in a dust-free environment. The flatness of the gold leaf should enhance the decorative quality without creating depth.
Gold leaf application
varnishing
step 06
Apply a final varnish to protect the painting and unify the surface sheen.
Tip — Ensure all layers are completely dry before varnishing to prevent cracking.
Varnishing
critical techniques
Gold leaf application
Klimt used gold leaf to create a flat, decorative surface that recalls Byzantine mosaics and medieval art. This technique was inspired by his trip to Ravenna in 1903 (Source 1, Source 2).
Glazing and scumbling
These techniques allow for the layering of transparent and semi-opaque colors, enhancing the luminosity and depth of the painting without compromising the flatness (Source 8).
Fat over lean
A basic rule of oil painting where each additional layer contains more oil than the previous one to ensure proper drying and prevent cracking (Source 6, Source 7).
common pitfalls
- →Applying gold leaf on a damp or uneven surface, leading to poor adhesion and a patchy finish.
- →Violating the 'fat over lean' rule, which can cause the paint layers to crack and peel over time (Source 6, Source 7).
- →Overworking the paint, which can muddy the colors and lose the clarity of the decorative patterns.
- →Ignoring the flatness of the composition, introducing unnecessary perspective or depth that contradicts Klimt’s style (Source 1).
what the sources don't tell us
Where the corpus is silent, we say so rather than guess. These are the gaps a complete recreation guide would normally cover that our source passages don't.
- ·Specific pigment recipes used by Klimt for his flesh tones and clothing colors are not detailed in the sources.
- ·The exact type of size used for gold leaf application in Klimt’s studio is not specified.
- ·Detailed information on the specific brushstrokes or tools used for the intricate patterns on the clothing is not provided.
grounded in
The technical procedure in this guide traces to the following classical art-instruction texts.
The Practice of Oil Painting↗
- COLOURING A MONOCHROME — applied to Glazing and scumbling techniques.
Laws of Contrast of Colour↗
- 6. Put beside each other two flat tints — applied to Color theory and juxtaposition effects.
cross-referenced from
Named facts about this artwork and artist were checked against these reference pages.
Wikipedia: The Kiss (Klimt)↗
- part 2 — applied to Composition, gold leaf inspiration, and Art Nouveau style.
Wikipedia bio — Gustav Klimt↗
- part 7 — applied to Golden Phase and use of gold leaf.
Wikipedia: Oil painting↗
- part 2 — applied to Oil painting techniques, fat over lean rule, and materials.
Read more about the corpus on the sources page and how the guides are built on the methods page.
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