Appropriations — Johanna Yoshe Sky

LEANNA’S DREAM

2022

Acrylic on canvas

48" x 72", 122 x 182 cm

In my appropriation of Henri Rousseau's painting "The Dream," I replaced his nude reclining on the couch with my sister Leanna.

I envisioned her magically transported into a lush jungle inhabited by exotic birds and beasts. I painted this beautiful surreal jungle for her, seeing her transitioning to another dimension or realm after finding out about her passing on August 19, 2020.

"It is impossible to understand addiction without asking what relief the addict finds, or hopes to find, in the drug or the addictive behavior." (Quote by Gabor Mate)

I did ask her that question but received no answer, and instead, a slap in my face.

Covid-19 and the lengthy isolation at home made her lonely, and she drank even more. At this point, at the end of her life, all I hoped for her to see was a beautiful, magical jungle and a new world beyond pain.

The original: Henri Rousseau, “The Dream”

THE SUNDAY STROLL - ADAPTED TO TODAY'S TIMES

2013

Oil on canvas

12"x 24", 30 x 61 cm

Carl Spitzweg, the painter of "The Sunday stroll," was a German genre painter representing the Biedermeier style of domestic romanticism. He lived from 1808 to 1885.

I grew up in Austria in the romantic city of Salzburg, where I was born in 1963; then, and until now, female members of society are still often encouraged to follow suit in the footsteps of a man - instead of taking the lead, at least in my experience.

In Spitzweg's original, the man walks in front, and if you look closely at my painting, you can see that I felt strongly to make a statement by painting the woman as the trailblazer.

My favorite theme is the depiction of social and personal unjust situations, typically with a humorous eye or in disguise.

The original: Carl Spitzweg, “Der Sommerspaziergang” (The Sunday Stroll)

**GOLD & DISPAIR**
2017
Oil, 23.5 karat gold leaf and silver leaf on canvas
54” x 54”, 167 x 167 cm (also the size of Klimt's original painting)

The Woman in Gold, also known as The Mona Lisa of Austria, is my adaptation of Gustav Klimt’s masterpiece. Having admired the symbolic art of Klimt since my working days as a fine art restorer at Vienna’s prestigious Conservation Institute (Bundesdenkmalamt) in the 1980’s, I conceived the idea to recreate the jewel of his gilded period with an interpretive lens on the looming darkness of the Holocaust and World War II.

As a native of Austria, Salzburg, I have developed an appreciation for Klimt’s art, and Art Nouveau in general. For the last thirty years, I have lived in New York City and worked as a fine art restorer, conservator, and painter as well as in the healing arts.

The original: Gustav Klimt, “Portrait of Adele Bloch-Bauer I”, also called “The Lady in Gold” or “The Woman in Gold”

Klimt had executed The Woman in Gold in the span of four years (1903-1907). My own creative process during 2014-2017, reflects my diligent care and thoroughness in rendering the original painting. In 2014, I started with the preparation of the canvas using Klimt’s original size of 54 x 54 inches (167 x 167 cm). For gesso, I used the traditional method of rabbit skin glue and chalk. For the painting, I used oil paints and genuine 23.5 karat gold in various shades, as well as silver leaves, to magnify the brilliant sheen of Klimt’s gold-enshrined muse and model, Adele Bloch-Bauer.

The portraiture of Bloch-Bauer in her ornate cape resembles numerous European Schutzmantel-Madonnas (Madonna with the sheltering mantle) paintings from earlier periods. The Schutzmantel-Madonnas sculptures and paintings symbolically depict a safe haven for the rich and poor alike.

For me, the souls of the Jews and victims killed in World War II may have finally found solace and peace in Adele’s mantle.

My empathy for the unspeakable sufferings of the Holocaust’s victims is seen in my added artistic statement to Klimt’s original: juxtaposed against the golden aura of Adele are the black and white photographic images depicting the victims of the Holocaust.

As a feminist, I use my paintings and healing artwork to create a vision of social justice and safety for all. I foresee a future that respects the feminine with the same reverie invoked by Klimt’s golden, glistening Madonna.

Go to: www.vimeo.com/244141740 to see a video statement (10 minutes) of the artist while gilding

Go to: www.vimeo.com/244143751 to see a video (45 seconds) of the gilding process

The making of “The Woman in Gold” early-stage

The making of “The Woman in Gold” middle-stage

The making of “The Woman in Gold” late-stage

The making of “The Woman in Gold” final-stage

The making of “The Woman in Gold” details

Judith and Donald

2019

Oil, 23.5 karat gold leaf on canvas

33" x 16.5", 84 x 42 cm (also the size of Klimt's original painting)

This is my adaptation of Gustav Klimt’s "Judith and the Head of Holofernes.” Klimt’s painting depicts the biblical character of Judith holding the severed head of Holofernes. Judith appears as God's instrument of salvation, as the femme fatale, maintaining a magnetic fascination and sensuality. The symbolism of the painting describes the triumph of the erotic feminine principle over the aggressive masculine.

Although Klimt painted "Judith" in 1901, over one hundred years ago, I find the motif apt to current worldly events. My interpretation of Klimt’s painting includes a comment about the current demoralizing political and social state of affairs.