what group was gustave klimnt a part of
In terms of Klimt’s technical skills, or his ability to create outstanding art, this new found fame makes absolutely no sense. Even so, The Kiss remains one of the world’s most popular and iconic images, indicating perhaps that his emphasis on “glitter” lends him an easily acceptable image in the consumerist postmodernist era.
Decorative Style of Painting
Fünfundzwanzig Handzeichnungen (“Twenty-five Drawings”) was released the year after Klimt’s death. Many of the drawings in the collection were erotic in nature and just as polarizing as his painted works. Published in Vienna in 1919 by Gilhofer & Ranschburg, the edition of 500 features twenty-five monochrome and two-color collotype reproductions, nearly indistinguishable from the original works. While the set was released a year after Klimt’s death, some art historians suspect he was involved with production planning due to the meticulous nature of the printing (Klimt had overseen the production of the plates for Das Werk Gustav Klimts, making sure each one was to his exact specifications, a level of quality carried through similarly in Fünfundzwanzig Handzeichnungen). The first ten editions also each contained an original Klimt drawing. 
Gustav Klimt (July 14, 1862 – February 6, 1918) was an Austrian symbolist painter and one of the most prominent members of the Vienna Secession movement. Klimt is noted for his paintings, murals, sketches, and other objets d’art. Klimt’s primary subject was the female body,  and his works are marked by a frank eroticism.  In addition to his figurative works, which include allegories and portraits, he painted landscapes. Among the artists of the Vienna Secession, Klimt was the most influenced by Japanese art and its methods.
After studying at the Vienna School of Decorative Arts, Klimt in 1883 opened an independent studio specializing in the execution of mural paintings. His early work had a classical style that was typical of late 19th-century academic painting, as can be seen in his murals for the Vienna Burgtheater (1888) and on the staircase of the Kunsthistorisches Museum.
Gustav Klimt, (born July 14, 1862, Vienna, Austria—died February 6, 1918, Vienna), Austrian painter, founder of the school of painting known as the Vienna Sezession.
Beginning in the late 1890s Klimt took annual summer holidays with the Flöge family on the shores of Attersee and painted many of his landscapes there. These works constitute the only genre aside from the figure that seriously interested Klimt, and are of a number and quality so as to merit a separate appreciation. Formally, the landscapes are characterized by the same refinement of design and emphatic patterning as the figural pieces. Deep space in the Attersee works is so efficiently flattened to a single plane, it is believed that Klimt painted them while looking through a telescope.
Klimt’s ‘Golden Phase’ was marked by positive critical reaction and success. Many of his paintings from this period utilized gold leaf; the prominent use of gold can first be traced back to Pallas Athene (1898) and Judith I (1901), although the works most popularly associated with this period are the Portrait of Adele Bloch-Bauer I (1907) and The Kiss (1907 – 1908). Klimt traveled little but trips to Venice and Ravenna, both famous for their beautiful mosaics, most likely inspired his gold technique and his Byzantine imagery. In 1904, he collaborated with other artists on the lavish Palais Stoclet, the home of a wealthy Belgian industrialist, which was one of the grandest monuments of the Art Nouveau age. Klimt’s contributions to the dining room, including both Fulfillment and Expectation, were some of his finest decorative work, and as he publicly stated, “probably the ultimate stage of my development of ornament.” Between 1907 and 1909, Klimt painted five canvases of society women wrapped in fur. His apparent love of costume is expressed in the many photographs of Flöge modeling clothing she designed.
Proudly acclaiming, вЂќThere is no self-portrait of me,вЂќ Klimt found his means of expression not in projecting his own image, but in the erotic power of his sensual nudes, his femme fatales. He was, he said, more interested in вЂњpainting.. other people, above all women.вЂќ
The haziness evokes the contemporaneous exploration of dreams by Sigmund Freud, whose seminal work on the subject would be published in Vienna just two years later. It is tempting to read Klimt’s painting in the context of Freud’s view of dreams as the fulfillment of wishes, which might suggest that the powerful, imperious woman is the object of male desire, but also potentially that the traditional feminine persona must be costumed in order to attain such powerful status.