Pastiche Photography after Gustav Klimt's 'The Kiss' by Anna Grayson
Klimt in the Care Home (after Gustav Klimt)
Anna Grayson's very popular re-imaginings of famous works of art are now available as limited edition photographic prints. All are approximately A3 in size.
Anna was a latecomer to art after a long and award-winning career as a BBC Presenter and Science Writer, specialising in Geology. She spent a year at Art College and almost immediately received a commendation by the South-West Academy. She had her first picture hung in the Royal Academy Summer Exhibition in 2014. She had further successes in 2018 (when Grayson Perry hung two of her pictures); then in 2021, 2024 and now in 2026.
She has also had work exhibited in the Royal West of England Academy in Bristol and has had a solo show in the prestigious Royal Albert Memorial Museum in Exeter. Her work appeared on Grayson Perry's Art Club (Channel 4) and has featured in the Western Morning News and in Devon Life Magazine.
Anna's work has found its way into private collections around the world, from New York to New Zealand. They are collector's pieces that can also form major elements of room design. “A lot of people wonder what it would be like to have their favourite old master hanging at home. My pictures give the chance to do that but combined into highly original contemporary pieces with layers of meaning and joy.”
This piece was one that was produced in celebration of Anna's long marriage to Des Maxwell Clark, also an earth scientist turned artist. While he paints watercolours that look like photographs, Anna takes photographs that look like paintings:
Klimt in the Care Home was shot to celebrate their ruby wedding, but with a distinct hope they’d make it to gold. Several art historians, including foxy James Fox and Sister Wendy (that well known authority on sexual relationships) have asserted that the embrace is coercive, that the woman is recoiling. Finding a photograph of Klimt cuddling a pussycat, Anna found herself disagreeing. So, her kiss is full of tender and enduring love. The blankets were made by Anna’s late Aunt whose family had been friendly with Magritte, so a good pedigree, and also a tiny nod to the textiles in Tracey Emin’s Tent. Anna had trouble keeping hers in place, running from the camera, set on ten second delay, to her tricky position on a re-arranged sofa with bewigged husband.
Digital Print on Archival Paper.
29.7x42cm
Unframed
Edition of 100
