Klimt produces a highly successful work, The Kiss (1908; Österreichische Gallery Wien, Vienna); he also completes Hope II (1907-08; Museum of Modern Art, New York).

Kokoschka in 1908 meets the prominent Viennese architect Adolf Loos, who, having been impressed by one of the young artist's early paintings, takes an active interest in him.

Like Kokoschka, Loos rejects the prevailing decorative ideal, and he enthusiastically launches Kokoschka's artistic career by introducing him to sympathetic artists, securing him commissions for paintings, and providing him with much-needed spiritual inspiration and support.

Kokoschka during this early period paints mostly landscapes, developing a technique of vibrant, fluid lines and colors expressive of mood that form the basis for all of his subsequent paintings.

Kokoschka's landscapes at first glance seem to follow the principles of the Impressionist school because of their bright colors, ephemeral delineation of shapes, with tangled, multicolored lines, and preoccupation with light.

His vision, however, is different from that of the Impressionists, who sought, albeit in a revolutionary way, to represent only what struck the eye.