section

La Mort de Marat

In 1897, the French director Georges Hatot made a movie entitled  Mort de Marat. This early silent film made for the Lumière Company is a brief single-shot scene of the assassination of the revolutionary.  The composition influenced one of the scenes in Stanley Kubrick's 1975 adaptation of Barry Lyndon. The cover art of the 1980 album East by Australian pub rock band Cold Chisel, was inspired by the painting. Andrzej Wajda's 1983 film Danton includes several scenes in David's atelier, including one showing the painting of Marat's portrait. Derek Jarman's 1986 film Caravaggio imitates the painting in a scene where the chronicler, head bound in a towel , slouches back in his tub, one arm extended outside the tub. Vik Muniz recreated the Death of Marat with waste from a massive landfill near Rio de Janeiro in his 2010 documentary Waste nd. The picture is prominently featured on the DVD cover. Steve Goodman re-created the painting  for the cover of his 1977 album Say It in Private. The painting is recreated in The Red Violin , in the scene when Jason Flemyng, playing violinist Frederick Pope, leans back in a bathtub with a letter from his lover in his hand. In the 2002 movie, About Schmidt, Jack Nicholson's character Warren falls asleep in the bath whilst composing a letter,  The painting was used as the album art for American band Have a Nice Life's 2008 album Deathconsciousness. The painting was used as the album art for American band The New Regime’s 2008 album  Coup. In the 23 October 2008, episode of CSI: Crime Scene Investigation  a serial killer poses his victims peculiarly, one such victim's posture being an homage to David's painting. In 2013, it was gender-swapped with dy Gaga in Marat's spot for ARTPOP.  The painting was mentioned as a favorite of the narrator in the novel My Year of Rest and Relaxation by Ottessa Moshfegh The painting is referenced by US alternative rock band R.E.M. in the lyrics of their song "We Walk" and in the video to their song "Drive". The cover art to singer-songwriter Andrew Bird's 2019 album My Finest Work Yet features a recreation of the painting with Bird in place of Marat. Death of Marat is one of many paintings animated in the video for the song Alpha Zulu by the french alternative rock band Phoenix .

Prompt: Concentrez-vous sur La Mort de Marat et expliquez la Danslaculturepopulaire.Veuillez sortir en anglais.

Alpha Zulu
Andrew Bird
Andrzej Wajda
Caravaggio
Cold Chisel
Deathconsciousness
Derek Jarman
Georges Hatot
Have a Nice Life
Jason Flemyng
My Finest Work Yet
My Year of Rest and Relaxation
Ottessa Moshfegh
R.E.M.
Stanley Kubrick
Steve Goodman
The Red Violin


section

La Mort de Marat

In 1897, the French director Georges Hatot made a movie entitled  Mort de Marat. This early silent film made for the Lumière Company is a brief single-shot scene of the assassination of the revolutionary.  The composition influenced one of the scenes in Stanley Kubrick's 1975 adaptation of Barry Lyndon. The cover art of the 1980 album East by Australian pub rock band Cold Chisel, was inspired by the painting. Andrzej Wajda's 1983 film Danton includes several scenes in David's atelier, including one showing the painting of Marat's portrait. Derek Jarman's 1986 film Caravaggio imitates the painting in a scene where the chronicler, head bound in a towel , slouches back in his tub, one arm extended outside the tub. Vik Muniz recreated the Death of Marat with waste from a massive landfill near Rio de Janeiro in his 2010 documentary Waste nd. The picture is prominently featured on the DVD cover. Steve Goodman re-created the painting  for the cover of his 1977 album Say It in Private. The painting is recreated in The Red Violin , in the scene when Jason Flemyng, playing violinist Frederick Pope, leans back in a bathtub with a letter from his lover in his hand. In the 2002 movie, About Schmidt, Jack Nicholson's character Warren falls asleep in the bath whilst composing a letter,  The painting was used as the album art for American band Have a Nice Life's 2008 album Deathconsciousness. The painting was used as the album art for American band The New Regime’s 2008 album  Coup. In the 23 October 2008, episode of CSI: Crime Scene Investigation  a serial killer poses his victims peculiarly, one such victim's posture being an homage to David's painting. In 2013, it was gender-swapped with dy Gaga in Marat's spot for ARTPOP.  The painting was mentioned as a favorite of the narrator in the novel My Year of Rest and Relaxation by Ottessa Moshfegh The painting is referenced by US alternative rock band R.E.M. in the lyrics of their song "We Walk" and in the video to their song "Drive". The cover art to singer-songwriter Andrew Bird's 2019 album My Finest Work Yet features a recreation of the painting with Bird in place of Marat. Death of Marat is one of many paintings animated in the video for the song Alpha Zulu by the french alternative rock band Phoenix .

Prompt: Expliquer la Danslaculturepopulaire de cette œuvre d'art, La Mort de Marat.Veuillez sortir en anglais.

Alpha Zulu
Andrew Bird
Andrzej Wajda
Caravaggio
Cold Chisel
Deathconsciousness
Derek Jarman
Georges Hatot
Have a Nice Life
Jason Flemyng
My Finest Work Yet
My Year of Rest and Relaxation
Ottessa Moshfegh
R.E.M.
Stanley Kubrick
Steve Goodman
The Red Violin


section

La Mort de Marat

In 1897, the French director Georges Hatot made a movie entitled  Mort de Marat. This early silent film made for the Lumière Company is a brief single-shot scene of the assassination of the revolutionary.  The composition influenced one of the scenes in Stanley Kubrick's 1975 adaptation of Barry Lyndon. The cover art of the 1980 album East by Australian pub rock band Cold Chisel, was inspired by the painting. Andrzej Wajda's 1983 film Danton includes several scenes in David's atelier, including one showing the painting of Marat's portrait. Derek Jarman's 1986 film Caravaggio imitates the painting in a scene where the chronicler, head bound in a towel , slouches back in his tub, one arm extended outside the tub. Vik Muniz recreated the Death of Marat with waste from a massive landfill near Rio de Janeiro in his 2010 documentary Waste nd. The picture is prominently featured on the DVD cover. Steve Goodman re-created the painting  for the cover of his 1977 album Say It in Private. The painting is recreated in The Red Violin , in the scene when Jason Flemyng, playing violinist Frederick Pope, leans back in a bathtub with a letter from his lover in his hand. In the 2002 movie, About Schmidt, Jack Nicholson's character Warren falls asleep in the bath whilst composing a letter,  The painting was used as the album art for American band Have a Nice Life's 2008 album Deathconsciousness. The painting was used as the album art for American band The New Regime’s 2008 album  Coup. In the 23 October 2008, episode of CSI: Crime Scene Investigation  a serial killer poses his victims peculiarly, one such victim's posture being an homage to David's painting. In 2013, it was gender-swapped with dy Gaga in Marat's spot for ARTPOP.  The painting was mentioned as a favorite of the narrator in the novel My Year of Rest and Relaxation by Ottessa Moshfegh The painting is referenced by US alternative rock band R.E.M. in the lyrics of their song "We Walk" and in the video to their song "Drive". The cover art to singer-songwriter Andrew Bird's 2019 album My Finest Work Yet features a recreation of the painting with Bird in place of Marat. Death of Marat is one of many paintings animated in the video for the song Alpha Zulu by the french alternative rock band Phoenix .

Prompt: Comment La Mort de Marat explique-t-il sa Danslaculturepopulaire?Veuillez sortir en anglais.

Alpha Zulu
Andrew Bird
Andrzej Wajda
Caravaggio
Cold Chisel
Deathconsciousness
Derek Jarman
Georges Hatot
Have a Nice Life
Jason Flemyng
My Finest Work Yet
My Year of Rest and Relaxation
Ottessa Moshfegh
R.E.M.
Stanley Kubrick
Steve Goodman
The Red Violin


section

La Mort de Marat

In 1897, the French director Georges Hatot made a movie entitled  Mort de Marat. This early silent film made for the Lumière Company is a brief single-shot scene of the assassination of the revolutionary.  The composition influenced one of the scenes in Stanley Kubrick's 1975 adaptation of Barry Lyndon. The cover art of the 1980 album East by Australian pub rock band Cold Chisel, was inspired by the painting. Andrzej Wajda's 1983 film Danton includes several scenes in David's atelier, including one showing the painting of Marat's portrait. Derek Jarman's 1986 film Caravaggio imitates the painting in a scene where the chronicler, head bound in a towel , slouches back in his tub, one arm extended outside the tub. Vik Muniz recreated the Death of Marat with waste from a massive landfill near Rio de Janeiro in his 2010 documentary Waste nd. The picture is prominently featured on the DVD cover. Steve Goodman re-created the painting  for the cover of his 1977 album Say It in Private. The painting is recreated in The Red Violin , in the scene when Jason Flemyng, playing violinist Frederick Pope, leans back in a bathtub with a letter from his lover in his hand. In the 2002 movie, About Schmidt, Jack Nicholson's character Warren falls asleep in the bath whilst composing a letter,  The painting was used as the album art for American band Have a Nice Life's 2008 album Deathconsciousness. The painting was used as the album art for American band The New Regime’s 2008 album  Coup. In the 23 October 2008, episode of CSI: Crime Scene Investigation  a serial killer poses his victims peculiarly, one such victim's posture being an homage to David's painting. In 2013, it was gender-swapped with dy Gaga in Marat's spot for ARTPOP.  The painting was mentioned as a favorite of the narrator in the novel My Year of Rest and Relaxation by Ottessa Moshfegh The painting is referenced by US alternative rock band R.E.M. in the lyrics of their song "We Walk" and in the video to their song "Drive". The cover art to singer-songwriter Andrew Bird's 2019 album My Finest Work Yet features a recreation of the painting with Bird in place of Marat. Death of Marat is one of many paintings animated in the video for the song Alpha Zulu by the french alternative rock band Phoenix .

Prompt: Dans La Mort de Marat, comment est discutée la Danslaculturepopulaire?Veuillez sortir en anglais.

Alpha Zulu
Andrew Bird
Andrzej Wajda
Caravaggio
Cold Chisel
Deathconsciousness
Derek Jarman
Georges Hatot
Have a Nice Life
Jason Flemyng
My Finest Work Yet
My Year of Rest and Relaxation
Ottessa Moshfegh
R.E.M.
Stanley Kubrick
Steve Goodman
The Red Violin


section

La Mort de Marat

List of paintings by Jacques-Louis David

Prompt: Concentrez-vous sur La Mort de Marat et expliquez la Voir aussi.Veuillez sortir en anglais.


section

La Mort de Marat

List of paintings by Jacques-Louis David

Prompt: Expliquer la Voir aussi de cette œuvre d'art, La Mort de Marat.Veuillez sortir en anglais.


section

La Mort de Marat

List of paintings by Jacques-Louis David

Prompt: Comment La Mort de Marat explique-t-il sa Voir aussi?Veuillez sortir en anglais.


section

La Mort de Marat

List of paintings by Jacques-Louis David

Prompt: Dans La Mort de Marat, comment est discutée la Voir aussi?Veuillez sortir en anglais.


section

La Mort de Marat

T J Clark, "Painting in the Year Two", in Representations, No. 47, Special Issue: National Cultures before Nationalism , pp. 13–63. Thibaudeau, M.A., Vie de David, Bruxelles  Delécluze, E., Louis David, son école et son temps, Paris,  re-edition Macula  – First-hand testimony by a pupil of David David, J.L., Le peintre Louis David 1748–1825. Souvenirs & Documents inédits par J.L. David son Petit-Fils, ed. Victor Havard, Paris  Holma, Klaus, David. Son évolution, son style, Paris  Adhé mar Jean, David. Naissance du génie d'un peintre, ed. Raoul Solar, Paris  Bowman, F.P., 'Le culte de Marat, figure de Jésus', Le Christ romantique, ed. Droz, Genève, pp. 62 sq.  Wildenstein, Daniel et Guy, Documents complémentaires au catalogue de l’oeuvre de Louis David, Paris, Fondation Wildenstein  – fondamental source to track all influences constituting David's visual culture Starobinski, Jean, 1789, les emblèmes de la raison, ed. Flammarion, Paris  Schnapper, Antoine, David témoin de son temps, ed. Office du Livre, Fribourg  Kruft, H.-W., "An antique model for David's Marat" in The Burlington Magazine CXXV, 967 , pp. 605–607; CXXVI, 973  Traeger, Jorg, Der Tod des Marat: Revolution des menschenbildes, ed. Prestel, München  Thévoz, Michel, Le théâtre du crime. Essai sur la peinture de David, éd. de Minuit, Paris  Guilhaumou, J.,  mort de Marat, ed. Complexe, Bruxelles  Mortier, R., ' mort de Marat dans l'imagerie révolutionnaire', Bulletin de la Classe des Beaux-Arts, Académie Royale de Belgique, 6ème série, tome I, 10–11 , pp. 131–144 Simon, Robert, "David’s Martyr-Portrait of Le Peletier de Saint-Fargeau and the conundrums of Revolutionary Representation" in Art History, vol.14, n°4 , pp. 459–487 Sérullaz, Arlette, Inventaire général des dessins. Ecole française. Dessins de Jacques-Louis David 1748–1825, Paris  David contre David, actes du colloque au Louvre du 6–10 décembre 1989, éd. R. Michel, Paris  [M. Bleyl, "Marat : du portrait à la peinture d'histoire"] Malvone, ura, "L'Évènement politique en peinture. A propos du Marat de David" in Mélanges de l'École française de Rome. Italie et Méditerranée, n° 106, 1  Pacco, M., De Vouet à David. Peintures françaises du Musée d'Art Ancien, XVIIe et XVIIIe siècles, ed. MRBAB, Bruxelles  Hofmann, Werner, Une époque en rupture 1750–1830, Gallimard, Paris  Crow, T., Emulation. Making artists for Revolutionary France, ed. Yale University Press, New Haven London  Monneret, Sophie, David et le néoclassicisme, ed. Terrail, Paris  Robespierre, edited by Colin Haydon & William Doyle, Cambridge  jer-Burcharth, E., Necklines. The art of Jacques-Louis David after the Terror, ed. Yale University Press, New Haven London  Lee, S., David, ed. Phaidon, London ;  Aston, Nigel, Religion and Revolution in France, 1780–1804, McMillan, London  Jacques-Louis David’s Marat, edited by William Vaughan & Helen Weston, Cambridge  Rosenberg, Pierre & Louis-Antoine Prat, Jacques-Louis David 1748–1825. Catalogue raisonné des dessins, 2 volumes, éd. Leonardo Arte, Milan  Idem, Peronnet, Benjamin, "Un album inédit de David", Revue de l’Art, n°142,  pp. 45–83 Coquard, Olivier, "Marat assassiné. Reconstitution abusive" in Historia Mensuel, n°691  Vanden Berghe, Marc & Ioana Plesca, Nouvelles perspectives sur la Mort de Marat: entre modèle jésuite et références mythologiques, Bruxelles  / New perspectives for David's Death of Marat, Brussels , available at the KBR, Brussels. Idem, Lepeletier de Saint-Fargeau sur son lit de mort par Jacques Louis-David : saint Sébastien révolutionnaire, miroir multiréférencé de Rome, Brussels , available at the KBR, Brussels. Sainte-Fare Garnot, N., Jacques-Louis David 1748–1825, Paris, Ed. Chaudun  Johnson, Dorothy, Jacques-Louis David: New Perspectives, University of Delaware Press  Guilhaumou, Jacques,  mort de Marat   Plume de Marat – Plumes sur Marat, pour une bibliographie générale, , Editions Pôle Nord, Bruxelles  Angelitti, Silvana, " Morte di Marat e la Pietà di Michelangelo" in  propaganda nella storia, sl, ,  Pesce, Luigi, Marat assassinato : il tema del braccio della morte : realismo caravagesco e ars moriendi in David, s.ed., sl,

Prompt: Concentrez-vous sur La Mort de Marat et expliquez la Bibliographie.Veuillez sortir en anglais.

Jacques-Louis David
Louvre
Mélanges de l'École française de Rome


section

La Mort de Marat

T J Clark, "Painting in the Year Two", in Representations, No. 47, Special Issue: National Cultures before Nationalism , pp. 13–63. Thibaudeau, M.A., Vie de David, Bruxelles  Delécluze, E., Louis David, son école et son temps, Paris,  re-edition Macula  – First-hand testimony by a pupil of David David, J.L., Le peintre Louis David 1748–1825. Souvenirs & Documents inédits par J.L. David son Petit-Fils, ed. Victor Havard, Paris  Holma, Klaus, David. Son évolution, son style, Paris  Adhé mar Jean, David. Naissance du génie d'un peintre, ed. Raoul Solar, Paris  Bowman, F.P., 'Le culte de Marat, figure de Jésus', Le Christ romantique, ed. Droz, Genève, pp. 62 sq.  Wildenstein, Daniel et Guy, Documents complémentaires au catalogue de l’oeuvre de Louis David, Paris, Fondation Wildenstein  – fondamental source to track all influences constituting David's visual culture Starobinski, Jean, 1789, les emblèmes de la raison, ed. Flammarion, Paris  Schnapper, Antoine, David témoin de son temps, ed. Office du Livre, Fribourg  Kruft, H.-W., "An antique model for David's Marat" in The Burlington Magazine CXXV, 967 , pp. 605–607; CXXVI, 973  Traeger, Jorg, Der Tod des Marat: Revolution des menschenbildes, ed. Prestel, München  Thévoz, Michel, Le théâtre du crime. Essai sur la peinture de David, éd. de Minuit, Paris  Guilhaumou, J.,  mort de Marat, ed. Complexe, Bruxelles  Mortier, R., ' mort de Marat dans l'imagerie révolutionnaire', Bulletin de la Classe des Beaux-Arts, Académie Royale de Belgique, 6ème série, tome I, 10–11 , pp. 131–144 Simon, Robert, "David’s Martyr-Portrait of Le Peletier de Saint-Fargeau and the conundrums of Revolutionary Representation" in Art History, vol.14, n°4 , pp. 459–487 Sérullaz, Arlette, Inventaire général des dessins. Ecole française. Dessins de Jacques-Louis David 1748–1825, Paris  David contre David, actes du colloque au Louvre du 6–10 décembre 1989, éd. R. Michel, Paris  [M. Bleyl, "Marat : du portrait à la peinture d'histoire"] Malvone, ura, "L'Évènement politique en peinture. A propos du Marat de David" in Mélanges de l'École française de Rome. Italie et Méditerranée, n° 106, 1  Pacco, M., De Vouet à David. Peintures françaises du Musée d'Art Ancien, XVIIe et XVIIIe siècles, ed. MRBAB, Bruxelles  Hofmann, Werner, Une époque en rupture 1750–1830, Gallimard, Paris  Crow, T., Emulation. Making artists for Revolutionary France, ed. Yale University Press, New Haven London  Monneret, Sophie, David et le néoclassicisme, ed. Terrail, Paris  Robespierre, edited by Colin Haydon & William Doyle, Cambridge  jer-Burcharth, E., Necklines. The art of Jacques-Louis David after the Terror, ed. Yale University Press, New Haven London  Lee, S., David, ed. Phaidon, London ;  Aston, Nigel, Religion and Revolution in France, 1780–1804, McMillan, London  Jacques-Louis David’s Marat, edited by William Vaughan & Helen Weston, Cambridge  Rosenberg, Pierre & Louis-Antoine Prat, Jacques-Louis David 1748–1825. Catalogue raisonné des dessins, 2 volumes, éd. Leonardo Arte, Milan  Idem, Peronnet, Benjamin, "Un album inédit de David", Revue de l’Art, n°142,  pp. 45–83 Coquard, Olivier, "Marat assassiné. Reconstitution abusive" in Historia Mensuel, n°691  Vanden Berghe, Marc & Ioana Plesca, Nouvelles perspectives sur la Mort de Marat: entre modèle jésuite et références mythologiques, Bruxelles  / New perspectives for David's Death of Marat, Brussels , available at the KBR, Brussels. Idem, Lepeletier de Saint-Fargeau sur son lit de mort par Jacques Louis-David : saint Sébastien révolutionnaire, miroir multiréférencé de Rome, Brussels , available at the KBR, Brussels. Sainte-Fare Garnot, N., Jacques-Louis David 1748–1825, Paris, Ed. Chaudun  Johnson, Dorothy, Jacques-Louis David: New Perspectives, University of Delaware Press  Guilhaumou, Jacques,  mort de Marat   Plume de Marat – Plumes sur Marat, pour une bibliographie générale, , Editions Pôle Nord, Bruxelles  Angelitti, Silvana, " Morte di Marat e la Pietà di Michelangelo" in  propaganda nella storia, sl, ,  Pesce, Luigi, Marat assassinato : il tema del braccio della morte : realismo caravagesco e ars moriendi in David, s.ed., sl,

Prompt: Expliquer la Bibliographie de cette œuvre d'art, La Mort de Marat.Veuillez sortir en anglais.

Jacques-Louis David
Louvre
Mélanges de l'École française de Rome


section

La Mort de Marat

T J Clark, "Painting in the Year Two", in Representations, No. 47, Special Issue: National Cultures before Nationalism , pp. 13–63. Thibaudeau, M.A., Vie de David, Bruxelles  Delécluze, E., Louis David, son école et son temps, Paris,  re-edition Macula  – First-hand testimony by a pupil of David David, J.L., Le peintre Louis David 1748–1825. Souvenirs & Documents inédits par J.L. David son Petit-Fils, ed. Victor Havard, Paris  Holma, Klaus, David. Son évolution, son style, Paris  Adhé mar Jean, David. Naissance du génie d'un peintre, ed. Raoul Solar, Paris  Bowman, F.P., 'Le culte de Marat, figure de Jésus', Le Christ romantique, ed. Droz, Genève, pp. 62 sq.  Wildenstein, Daniel et Guy, Documents complémentaires au catalogue de l’oeuvre de Louis David, Paris, Fondation Wildenstein  – fondamental source to track all influences constituting David's visual culture Starobinski, Jean, 1789, les emblèmes de la raison, ed. Flammarion, Paris  Schnapper, Antoine, David témoin de son temps, ed. Office du Livre, Fribourg  Kruft, H.-W., "An antique model for David's Marat" in The Burlington Magazine CXXV, 967 , pp. 605–607; CXXVI, 973  Traeger, Jorg, Der Tod des Marat: Revolution des menschenbildes, ed. Prestel, München  Thévoz, Michel, Le théâtre du crime. Essai sur la peinture de David, éd. de Minuit, Paris  Guilhaumou, J.,  mort de Marat, ed. Complexe, Bruxelles  Mortier, R., ' mort de Marat dans l'imagerie révolutionnaire', Bulletin de la Classe des Beaux-Arts, Académie Royale de Belgique, 6ème série, tome I, 10–11 , pp. 131–144 Simon, Robert, "David’s Martyr-Portrait of Le Peletier de Saint-Fargeau and the conundrums of Revolutionary Representation" in Art History, vol.14, n°4 , pp. 459–487 Sérullaz, Arlette, Inventaire général des dessins. Ecole française. Dessins de Jacques-Louis David 1748–1825, Paris  David contre David, actes du colloque au Louvre du 6–10 décembre 1989, éd. R. Michel, Paris  [M. Bleyl, "Marat : du portrait à la peinture d'histoire"] Malvone, ura, "L'Évènement politique en peinture. A propos du Marat de David" in Mélanges de l'École française de Rome. Italie et Méditerranée, n° 106, 1  Pacco, M., De Vouet à David. Peintures françaises du Musée d'Art Ancien, XVIIe et XVIIIe siècles, ed. MRBAB, Bruxelles  Hofmann, Werner, Une époque en rupture 1750–1830, Gallimard, Paris  Crow, T., Emulation. Making artists for Revolutionary France, ed. Yale University Press, New Haven London  Monneret, Sophie, David et le néoclassicisme, ed. Terrail, Paris  Robespierre, edited by Colin Haydon & William Doyle, Cambridge  jer-Burcharth, E., Necklines. The art of Jacques-Louis David after the Terror, ed. Yale University Press, New Haven London  Lee, S., David, ed. Phaidon, London ;  Aston, Nigel, Religion and Revolution in France, 1780–1804, McMillan, London  Jacques-Louis David’s Marat, edited by William Vaughan & Helen Weston, Cambridge  Rosenberg, Pierre & Louis-Antoine Prat, Jacques-Louis David 1748–1825. Catalogue raisonné des dessins, 2 volumes, éd. Leonardo Arte, Milan  Idem, Peronnet, Benjamin, "Un album inédit de David", Revue de l’Art, n°142,  pp. 45–83 Coquard, Olivier, "Marat assassiné. Reconstitution abusive" in Historia Mensuel, n°691  Vanden Berghe, Marc & Ioana Plesca, Nouvelles perspectives sur la Mort de Marat: entre modèle jésuite et références mythologiques, Bruxelles  / New perspectives for David's Death of Marat, Brussels , available at the KBR, Brussels. Idem, Lepeletier de Saint-Fargeau sur son lit de mort par Jacques Louis-David : saint Sébastien révolutionnaire, miroir multiréférencé de Rome, Brussels , available at the KBR, Brussels. Sainte-Fare Garnot, N., Jacques-Louis David 1748–1825, Paris, Ed. Chaudun  Johnson, Dorothy, Jacques-Louis David: New Perspectives, University of Delaware Press  Guilhaumou, Jacques,  mort de Marat   Plume de Marat – Plumes sur Marat, pour une bibliographie générale, , Editions Pôle Nord, Bruxelles  Angelitti, Silvana, " Morte di Marat e la Pietà di Michelangelo" in  propaganda nella storia, sl, ,  Pesce, Luigi, Marat assassinato : il tema del braccio della morte : realismo caravagesco e ars moriendi in David, s.ed., sl,

Prompt: Comment La Mort de Marat explique-t-il sa Bibliographie?Veuillez sortir en anglais.

Jacques-Louis David
Louvre
Mélanges de l'École française de Rome


section

La Mort de Marat

T J Clark, "Painting in the Year Two", in Representations, No. 47, Special Issue: National Cultures before Nationalism , pp. 13–63. Thibaudeau, M.A., Vie de David, Bruxelles  Delécluze, E., Louis David, son école et son temps, Paris,  re-edition Macula  – First-hand testimony by a pupil of David David, J.L., Le peintre Louis David 1748–1825. Souvenirs & Documents inédits par J.L. David son Petit-Fils, ed. Victor Havard, Paris  Holma, Klaus, David. Son évolution, son style, Paris  Adhé mar Jean, David. Naissance du génie d'un peintre, ed. Raoul Solar, Paris  Bowman, F.P., 'Le culte de Marat, figure de Jésus', Le Christ romantique, ed. Droz, Genève, pp. 62 sq.  Wildenstein, Daniel et Guy, Documents complémentaires au catalogue de l’oeuvre de Louis David, Paris, Fondation Wildenstein  – fondamental source to track all influences constituting David's visual culture Starobinski, Jean, 1789, les emblèmes de la raison, ed. Flammarion, Paris  Schnapper, Antoine, David témoin de son temps, ed. Office du Livre, Fribourg  Kruft, H.-W., "An antique model for David's Marat" in The Burlington Magazine CXXV, 967 , pp. 605–607; CXXVI, 973  Traeger, Jorg, Der Tod des Marat: Revolution des menschenbildes, ed. Prestel, München  Thévoz, Michel, Le théâtre du crime. Essai sur la peinture de David, éd. de Minuit, Paris  Guilhaumou, J.,  mort de Marat, ed. Complexe, Bruxelles  Mortier, R., ' mort de Marat dans l'imagerie révolutionnaire', Bulletin de la Classe des Beaux-Arts, Académie Royale de Belgique, 6ème série, tome I, 10–11 , pp. 131–144 Simon, Robert, "David’s Martyr-Portrait of Le Peletier de Saint-Fargeau and the conundrums of Revolutionary Representation" in Art History, vol.14, n°4 , pp. 459–487 Sérullaz, Arlette, Inventaire général des dessins. Ecole française. Dessins de Jacques-Louis David 1748–1825, Paris  David contre David, actes du colloque au Louvre du 6–10 décembre 1989, éd. R. Michel, Paris  [M. Bleyl, "Marat : du portrait à la peinture d'histoire"] Malvone, ura, "L'Évènement politique en peinture. A propos du Marat de David" in Mélanges de l'École française de Rome. Italie et Méditerranée, n° 106, 1  Pacco, M., De Vouet à David. Peintures françaises du Musée d'Art Ancien, XVIIe et XVIIIe siècles, ed. MRBAB, Bruxelles  Hofmann, Werner, Une époque en rupture 1750–1830, Gallimard, Paris  Crow, T., Emulation. Making artists for Revolutionary France, ed. Yale University Press, New Haven London  Monneret, Sophie, David et le néoclassicisme, ed. Terrail, Paris  Robespierre, edited by Colin Haydon & William Doyle, Cambridge  jer-Burcharth, E., Necklines. The art of Jacques-Louis David after the Terror, ed. Yale University Press, New Haven London  Lee, S., David, ed. Phaidon, London ;  Aston, Nigel, Religion and Revolution in France, 1780–1804, McMillan, London  Jacques-Louis David’s Marat, edited by William Vaughan & Helen Weston, Cambridge  Rosenberg, Pierre & Louis-Antoine Prat, Jacques-Louis David 1748–1825. Catalogue raisonné des dessins, 2 volumes, éd. Leonardo Arte, Milan  Idem, Peronnet, Benjamin, "Un album inédit de David", Revue de l’Art, n°142,  pp. 45–83 Coquard, Olivier, "Marat assassiné. Reconstitution abusive" in Historia Mensuel, n°691  Vanden Berghe, Marc & Ioana Plesca, Nouvelles perspectives sur la Mort de Marat: entre modèle jésuite et références mythologiques, Bruxelles  / New perspectives for David's Death of Marat, Brussels , available at the KBR, Brussels. Idem, Lepeletier de Saint-Fargeau sur son lit de mort par Jacques Louis-David : saint Sébastien révolutionnaire, miroir multiréférencé de Rome, Brussels , available at the KBR, Brussels. Sainte-Fare Garnot, N., Jacques-Louis David 1748–1825, Paris, Ed. Chaudun  Johnson, Dorothy, Jacques-Louis David: New Perspectives, University of Delaware Press  Guilhaumou, Jacques,  mort de Marat   Plume de Marat – Plumes sur Marat, pour une bibliographie générale, , Editions Pôle Nord, Bruxelles  Angelitti, Silvana, " Morte di Marat e la Pietà di Michelangelo" in  propaganda nella storia, sl, ,  Pesce, Luigi, Marat assassinato : il tema del braccio della morte : realismo caravagesco e ars moriendi in David, s.ed., sl,

Prompt: Dans La Mort de Marat, comment est discutée la Bibliographie?Veuillez sortir en anglais.

Jacques-Louis David
Louvre
Mélanges de l'École française de Rome


section

Portrait d'Adele Bloch-Bauer I

Woman in Gold }}dy in Gold }}Portrait of Adele Bloch-Bauer I  is an oil painting on canvas, with gold leaf, by Gustav Klimt, completed between 1903 and 1907. The portrait was commissioned by the sitter's husband, Ferdinand Bloch-Bauer, a Viennese and Jewish banker and sugar producer. The painting was stolen by the Nazis in 1941 and displayed at the Österreichische Galerie Belvedere. The portrait is the final and most fully representative work of Klimt's golden phase. It was the first of two depictions of Adele by Klimt—the second was completed in 1912; these were two of several works by the artist that the family owned.Adele died in 1925; her will asked that the artworks by Klimt be eventually left to the Galerie Belvedere, although these works belonged to Ferdinand, not her. Following the Anschluss of Austria by Nazi Germany, and due to the Nazi persecution of Jews, Ferdinand fled Vienna, and made his way to Switzerland, leaving behind much of his wealth, including his large art collection. The painting was stolen by the Nazis in 1941, along with the remainder of Ferdinand's assets, after a false charge of tax evasion was made against him. The lawyer acting on behalf of the German state gave the portrait to the Galerie Belvedere, claiming he was following the wishes Adele had made in her will. Ferdinand died in 1945; his will stated that his estate should go to his nephew and two nieces.In 1998 the Austrian investigative journalist Hubertus Czernin established that the Galerie Belvedere contained several works stolen from Jewish owners in the war and that the gallery had refused to return the art to their original owners or to acknowledge a theft had taken place. One of Ferdinand's nieces, Maria Altmann, hired the lawyer E. Randol Schoenberg to make a claim against the gallery for the return of five works by Klimt. In 2006 after a seven-year legal claim, which included a hearing in front of the Supreme Court of the United States, an arbitration committee in Vienna agreed that the painting, and others, had been stolen from the family and that it should be returned to Altmann. She sold it the same year for $135 million, at the time a record price for a painting to the businessman and art collector Ronald uder to place the work in the Neue Galerie, the public New York–based gallery he co-founded.

Prompt: Concentrez-vous sur Portrait d'Adele Bloch-Bauer I et expliquez la Abstrait.Veuillez sortir en anglais.

Adele Bloch-Bauer
Adele Bloch-Bauer
Anschluss
E. Randol Schoenberg
Gustav Klimt
Hubertus Czernin
Portrait of Adele Bloch-Bauer I
Maria Altmann
Supreme Court of the United States
Vienna
Portrait of Adele Bloch-Bauer I
Österreichische Galerie Belvedere


section

Portrait d'Adele Bloch-Bauer I

Woman in Gold }}dy in Gold }}Portrait of Adele Bloch-Bauer I  is an oil painting on canvas, with gold leaf, by Gustav Klimt, completed between 1903 and 1907. The portrait was commissioned by the sitter's husband, Ferdinand Bloch-Bauer, a Viennese and Jewish banker and sugar producer. The painting was stolen by the Nazis in 1941 and displayed at the Österreichische Galerie Belvedere. The portrait is the final and most fully representative work of Klimt's golden phase. It was the first of two depictions of Adele by Klimt—the second was completed in 1912; these were two of several works by the artist that the family owned.Adele died in 1925; her will asked that the artworks by Klimt be eventually left to the Galerie Belvedere, although these works belonged to Ferdinand, not her. Following the Anschluss of Austria by Nazi Germany, and due to the Nazi persecution of Jews, Ferdinand fled Vienna, and made his way to Switzerland, leaving behind much of his wealth, including his large art collection. The painting was stolen by the Nazis in 1941, along with the remainder of Ferdinand's assets, after a false charge of tax evasion was made against him. The lawyer acting on behalf of the German state gave the portrait to the Galerie Belvedere, claiming he was following the wishes Adele had made in her will. Ferdinand died in 1945; his will stated that his estate should go to his nephew and two nieces.In 1998 the Austrian investigative journalist Hubertus Czernin established that the Galerie Belvedere contained several works stolen from Jewish owners in the war and that the gallery had refused to return the art to their original owners or to acknowledge a theft had taken place. One of Ferdinand's nieces, Maria Altmann, hired the lawyer E. Randol Schoenberg to make a claim against the gallery for the return of five works by Klimt. In 2006 after a seven-year legal claim, which included a hearing in front of the Supreme Court of the United States, an arbitration committee in Vienna agreed that the painting, and others, had been stolen from the family and that it should be returned to Altmann. She sold it the same year for $135 million, at the time a record price for a painting to the businessman and art collector Ronald uder to place the work in the Neue Galerie, the public New York–based gallery he co-founded.

Prompt: Expliquer la Abstrait de cette œuvre d'art, Portrait d'Adele Bloch-Bauer I.Veuillez sortir en anglais.

Adele Bloch-Bauer
Adele Bloch-Bauer
Anschluss
E. Randol Schoenberg
Gustav Klimt
Hubertus Czernin
Portrait of Adele Bloch-Bauer I
Maria Altmann
Supreme Court of the United States
Vienna
Portrait of Adele Bloch-Bauer I
Österreichische Galerie Belvedere


section

Portrait d'Adele Bloch-Bauer I

Woman in Gold }}dy in Gold }}Portrait of Adele Bloch-Bauer I  is an oil painting on canvas, with gold leaf, by Gustav Klimt, completed between 1903 and 1907. The portrait was commissioned by the sitter's husband, Ferdinand Bloch-Bauer, a Viennese and Jewish banker and sugar producer. The painting was stolen by the Nazis in 1941 and displayed at the Österreichische Galerie Belvedere. The portrait is the final and most fully representative work of Klimt's golden phase. It was the first of two depictions of Adele by Klimt—the second was completed in 1912; these were two of several works by the artist that the family owned.Adele died in 1925; her will asked that the artworks by Klimt be eventually left to the Galerie Belvedere, although these works belonged to Ferdinand, not her. Following the Anschluss of Austria by Nazi Germany, and due to the Nazi persecution of Jews, Ferdinand fled Vienna, and made his way to Switzerland, leaving behind much of his wealth, including his large art collection. The painting was stolen by the Nazis in 1941, along with the remainder of Ferdinand's assets, after a false charge of tax evasion was made against him. The lawyer acting on behalf of the German state gave the portrait to the Galerie Belvedere, claiming he was following the wishes Adele had made in her will. Ferdinand died in 1945; his will stated that his estate should go to his nephew and two nieces.In 1998 the Austrian investigative journalist Hubertus Czernin established that the Galerie Belvedere contained several works stolen from Jewish owners in the war and that the gallery had refused to return the art to their original owners or to acknowledge a theft had taken place. One of Ferdinand's nieces, Maria Altmann, hired the lawyer E. Randol Schoenberg to make a claim against the gallery for the return of five works by Klimt. In 2006 after a seven-year legal claim, which included a hearing in front of the Supreme Court of the United States, an arbitration committee in Vienna agreed that the painting, and others, had been stolen from the family and that it should be returned to Altmann. She sold it the same year for $135 million, at the time a record price for a painting to the businessman and art collector Ronald uder to place the work in the Neue Galerie, the public New York–based gallery he co-founded.

Prompt: Comment Portrait d'Adele Bloch-Bauer I explique-t-il sa Abstrait?Veuillez sortir en anglais.

Adele Bloch-Bauer
Adele Bloch-Bauer
Anschluss
E. Randol Schoenberg
Gustav Klimt
Hubertus Czernin
Portrait of Adele Bloch-Bauer I
Maria Altmann
Supreme Court of the United States
Vienna
Portrait of Adele Bloch-Bauer I
Österreichische Galerie Belvedere


section

Portrait d'Adele Bloch-Bauer I

Woman in Gold }}dy in Gold }}Portrait of Adele Bloch-Bauer I  is an oil painting on canvas, with gold leaf, by Gustav Klimt, completed between 1903 and 1907. The portrait was commissioned by the sitter's husband, Ferdinand Bloch-Bauer, a Viennese and Jewish banker and sugar producer. The painting was stolen by the Nazis in 1941 and displayed at the Österreichische Galerie Belvedere. The portrait is the final and most fully representative work of Klimt's golden phase. It was the first of two depictions of Adele by Klimt—the second was completed in 1912; these were two of several works by the artist that the family owned.Adele died in 1925; her will asked that the artworks by Klimt be eventually left to the Galerie Belvedere, although these works belonged to Ferdinand, not her. Following the Anschluss of Austria by Nazi Germany, and due to the Nazi persecution of Jews, Ferdinand fled Vienna, and made his way to Switzerland, leaving behind much of his wealth, including his large art collection. The painting was stolen by the Nazis in 1941, along with the remainder of Ferdinand's assets, after a false charge of tax evasion was made against him. The lawyer acting on behalf of the German state gave the portrait to the Galerie Belvedere, claiming he was following the wishes Adele had made in her will. Ferdinand died in 1945; his will stated that his estate should go to his nephew and two nieces.In 1998 the Austrian investigative journalist Hubertus Czernin established that the Galerie Belvedere contained several works stolen from Jewish owners in the war and that the gallery had refused to return the art to their original owners or to acknowledge a theft had taken place. One of Ferdinand's nieces, Maria Altmann, hired the lawyer E. Randol Schoenberg to make a claim against the gallery for the return of five works by Klimt. In 2006 after a seven-year legal claim, which included a hearing in front of the Supreme Court of the United States, an arbitration committee in Vienna agreed that the painting, and others, had been stolen from the family and that it should be returned to Altmann. She sold it the same year for $135 million, at the time a record price for a painting to the businessman and art collector Ronald uder to place the work in the Neue Galerie, the public New York–based gallery he co-founded.

Prompt: Dans Portrait d'Adele Bloch-Bauer I, comment est discutée la Abstrait?Veuillez sortir en anglais.

Adele Bloch-Bauer
Adele Bloch-Bauer
Anschluss
E. Randol Schoenberg
Gustav Klimt
Hubertus Czernin
Portrait of Adele Bloch-Bauer I
Maria Altmann
Supreme Court of the United States
Vienna
Portrait of Adele Bloch-Bauer I
Österreichische Galerie Belvedere


section

Portrait d'Adele Bloch-Bauer I

Klimt exhibited his portrait at the 1907 Mannheim International Art Show, alongside the Portrait of Fritza Riedler . Many of the critics had negative reactions to the two paintings, describing them as "mosaic-like wall-grotesqueries", "bizarre", "absurdities" and "vulgarities".In 1908 the portrait was exhibited at the  in Vienna where critical reaction was mixed. The unnamed reviewer from the Wiener Allgemeine Zeitung described the painting as "an idol in a golden shrine", while the critic Eduard Pötzl described the work as "" .group=n}} According to the art historian Tobias G. Natter, some critics disapproved of the loss of the sitter's individuality, while others "accused Klimt of endangering the autonomy of art".

Prompt: Concentrez-vous sur Portrait d'Adele Bloch-Bauer I et expliquez la Réception.Veuillez sortir en anglais.


section

Portrait d'Adele Bloch-Bauer I

Klimt exhibited his portrait at the 1907 Mannheim International Art Show, alongside the Portrait of Fritza Riedler . Many of the critics had negative reactions to the two paintings, describing them as "mosaic-like wall-grotesqueries", "bizarre", "absurdities" and "vulgarities".In 1908 the portrait was exhibited at the  in Vienna where critical reaction was mixed. The unnamed reviewer from the Wiener Allgemeine Zeitung described the painting as "an idol in a golden shrine", while the critic Eduard Pötzl described the work as "" .group=n}} According to the art historian Tobias G. Natter, some critics disapproved of the loss of the sitter's individuality, while others "accused Klimt of endangering the autonomy of art".

Prompt: Expliquer la Réception de cette œuvre d'art, Portrait d'Adele Bloch-Bauer I.Veuillez sortir en anglais.


section

Portrait d'Adele Bloch-Bauer I

Klimt exhibited his portrait at the 1907 Mannheim International Art Show, alongside the Portrait of Fritza Riedler . Many of the critics had negative reactions to the two paintings, describing them as "mosaic-like wall-grotesqueries", "bizarre", "absurdities" and "vulgarities".In 1908 the portrait was exhibited at the  in Vienna where critical reaction was mixed. The unnamed reviewer from the Wiener Allgemeine Zeitung described the painting as "an idol in a golden shrine", while the critic Eduard Pötzl described the work as "" .group=n}} According to the art historian Tobias G. Natter, some critics disapproved of the loss of the sitter's individuality, while others "accused Klimt of endangering the autonomy of art".

Prompt: Comment Portrait d'Adele Bloch-Bauer I explique-t-il sa Réception?Veuillez sortir en anglais.


section

Portrait d'Adele Bloch-Bauer I

Klimt exhibited his portrait at the 1907 Mannheim International Art Show, alongside the Portrait of Fritza Riedler . Many of the critics had negative reactions to the two paintings, describing them as "mosaic-like wall-grotesqueries", "bizarre", "absurdities" and "vulgarities".In 1908 the portrait was exhibited at the  in Vienna where critical reaction was mixed. The unnamed reviewer from the Wiener Allgemeine Zeitung described the painting as "an idol in a golden shrine", while the critic Eduard Pötzl described the work as "" .group=n}} According to the art historian Tobias G. Natter, some critics disapproved of the loss of the sitter's individuality, while others "accused Klimt of endangering the autonomy of art".

Prompt: Dans Portrait d'Adele Bloch-Bauer I, comment est discutée la Réception?Veuillez sortir en anglais.


section

Portrait d'Adele Bloch-Bauer I

The history of the Portrait of Adele Bloch-Bauer I and the other paintings taken from the Bloch-Bauers has been recounted in three documentary films, Stealing Klimt , The Rape of Europa  and Adele's Wish . The painting's history is described in the 2012 book The dy in Gold: The Extraordinary Tale of Gustav Klimt's Masterpiece, Portrait of Adele Bloch-Bauer, by the journalist Anne-Marie O'Connor. The history, as well as other stories of other stolen art, is told by Melissa Müller and Monika Tatzkow in Lost Lives, Lost Art: Jewish Collectors, Nazi Art Theft, and the Quest for Justice, published in 2010. The story of Adele Bloch-Bauer and Maria Altmann formed the basis for the 2017 novel Stolen Beauty by urie Lico Albanese. The portrait is featured in the memoir of Gregor Collins, The Accidental Caregiver, about his relationship with Maria Altmann, published in August 2012. The book was dramatised for the stage in January 2015. In 2015 Altmann's story was dramatised for the film Woman in Gold starring Helen Mirren as Maria and Ryan Reynolds as Schoenberg.Altmann died in February 2011, aged 94. Schoenberg, who had worked on a 40 per cent conditional fee throughout, received $54 million for the sale of Portrait of Adele Bloch-Bauer I and $55 million for the sale of the remaining four paintings. After he donated over $7 million for the building of the new premises of the Los Angeles Museum of the Holocaust, he said that he had "tried to do good things with the money". He subsequently specialised in the restitution of artwork plundered by the Nazis.Elements of the portrait have been noted by art critics to have influenced the painting First dy Michelle Obama, by Amy Sherald in 2018.

Prompt: Concentrez-vous sur Portrait d'Adele Bloch-Bauer I et expliquez la Héritage.Veuillez sortir en anglais.

Adele Bloch-Bauer
Adele Bloch-Bauer
Amy Sherald
Gregor Collins
Gustav Klimt
Helen Mirren
Portrait of Adele Bloch-Bauer I
Maria Altmann
Melissa Müller
Ryan Reynolds
Stealing Klimt
The Accidental Caregiver
Portrait of Adele Bloch-Bauer I


section

Portrait d'Adele Bloch-Bauer I

The history of the Portrait of Adele Bloch-Bauer I and the other paintings taken from the Bloch-Bauers has been recounted in three documentary films, Stealing Klimt , The Rape of Europa  and Adele's Wish . The painting's history is described in the 2012 book The dy in Gold: The Extraordinary Tale of Gustav Klimt's Masterpiece, Portrait of Adele Bloch-Bauer, by the journalist Anne-Marie O'Connor. The history, as well as other stories of other stolen art, is told by Melissa Müller and Monika Tatzkow in Lost Lives, Lost Art: Jewish Collectors, Nazi Art Theft, and the Quest for Justice, published in 2010. The story of Adele Bloch-Bauer and Maria Altmann formed the basis for the 2017 novel Stolen Beauty by urie Lico Albanese. The portrait is featured in the memoir of Gregor Collins, The Accidental Caregiver, about his relationship with Maria Altmann, published in August 2012. The book was dramatised for the stage in January 2015. In 2015 Altmann's story was dramatised for the film Woman in Gold starring Helen Mirren as Maria and Ryan Reynolds as Schoenberg.Altmann died in February 2011, aged 94. Schoenberg, who had worked on a 40 per cent conditional fee throughout, received $54 million for the sale of Portrait of Adele Bloch-Bauer I and $55 million for the sale of the remaining four paintings. After he donated over $7 million for the building of the new premises of the Los Angeles Museum of the Holocaust, he said that he had "tried to do good things with the money". He subsequently specialised in the restitution of artwork plundered by the Nazis.Elements of the portrait have been noted by art critics to have influenced the painting First dy Michelle Obama, by Amy Sherald in 2018.

Prompt: Expliquer la Héritage de cette œuvre d'art, Portrait d'Adele Bloch-Bauer I.Veuillez sortir en anglais.

Adele Bloch-Bauer
Adele Bloch-Bauer
Amy Sherald
Gregor Collins
Gustav Klimt
Helen Mirren
Portrait of Adele Bloch-Bauer I
Maria Altmann
Melissa Müller
Ryan Reynolds
Stealing Klimt
The Accidental Caregiver
Portrait of Adele Bloch-Bauer I


section

Portrait d'Adele Bloch-Bauer I

The history of the Portrait of Adele Bloch-Bauer I and the other paintings taken from the Bloch-Bauers has been recounted in three documentary films, Stealing Klimt , The Rape of Europa  and Adele's Wish . The painting's history is described in the 2012 book The dy in Gold: The Extraordinary Tale of Gustav Klimt's Masterpiece, Portrait of Adele Bloch-Bauer, by the journalist Anne-Marie O'Connor. The history, as well as other stories of other stolen art, is told by Melissa Müller and Monika Tatzkow in Lost Lives, Lost Art: Jewish Collectors, Nazi Art Theft, and the Quest for Justice, published in 2010. The story of Adele Bloch-Bauer and Maria Altmann formed the basis for the 2017 novel Stolen Beauty by urie Lico Albanese. The portrait is featured in the memoir of Gregor Collins, The Accidental Caregiver, about his relationship with Maria Altmann, published in August 2012. The book was dramatised for the stage in January 2015. In 2015 Altmann's story was dramatised for the film Woman in Gold starring Helen Mirren as Maria and Ryan Reynolds as Schoenberg.Altmann died in February 2011, aged 94. Schoenberg, who had worked on a 40 per cent conditional fee throughout, received $54 million for the sale of Portrait of Adele Bloch-Bauer I and $55 million for the sale of the remaining four paintings. After he donated over $7 million for the building of the new premises of the Los Angeles Museum of the Holocaust, he said that he had "tried to do good things with the money". He subsequently specialised in the restitution of artwork plundered by the Nazis.Elements of the portrait have been noted by art critics to have influenced the painting First dy Michelle Obama, by Amy Sherald in 2018.

Prompt: Comment Portrait d'Adele Bloch-Bauer I explique-t-il sa Héritage?Veuillez sortir en anglais.

Adele Bloch-Bauer
Adele Bloch-Bauer
Amy Sherald
Gregor Collins
Gustav Klimt
Helen Mirren
Portrait of Adele Bloch-Bauer I
Maria Altmann
Melissa Müller
Ryan Reynolds
Stealing Klimt
The Accidental Caregiver
Portrait of Adele Bloch-Bauer I


section

Portrait d'Adele Bloch-Bauer I

The history of the Portrait of Adele Bloch-Bauer I and the other paintings taken from the Bloch-Bauers has been recounted in three documentary films, Stealing Klimt , The Rape of Europa  and Adele's Wish . The painting's history is described in the 2012 book The dy in Gold: The Extraordinary Tale of Gustav Klimt's Masterpiece, Portrait of Adele Bloch-Bauer, by the journalist Anne-Marie O'Connor. The history, as well as other stories of other stolen art, is told by Melissa Müller and Monika Tatzkow in Lost Lives, Lost Art: Jewish Collectors, Nazi Art Theft, and the Quest for Justice, published in 2010. The story of Adele Bloch-Bauer and Maria Altmann formed the basis for the 2017 novel Stolen Beauty by urie Lico Albanese. The portrait is featured in the memoir of Gregor Collins, The Accidental Caregiver, about his relationship with Maria Altmann, published in August 2012. The book was dramatised for the stage in January 2015. In 2015 Altmann's story was dramatised for the film Woman in Gold starring Helen Mirren as Maria and Ryan Reynolds as Schoenberg.Altmann died in February 2011, aged 94. Schoenberg, who had worked on a 40 per cent conditional fee throughout, received $54 million for the sale of Portrait of Adele Bloch-Bauer I and $55 million for the sale of the remaining four paintings. After he donated over $7 million for the building of the new premises of the Los Angeles Museum of the Holocaust, he said that he had "tried to do good things with the money". He subsequently specialised in the restitution of artwork plundered by the Nazis.Elements of the portrait have been noted by art critics to have influenced the painting First dy Michelle Obama, by Amy Sherald in 2018.

Prompt: Dans Portrait d'Adele Bloch-Bauer I, comment est discutée la Héritage?Veuillez sortir en anglais.

Adele Bloch-Bauer
Adele Bloch-Bauer
Amy Sherald
Gregor Collins
Gustav Klimt
Helen Mirren
Portrait of Adele Bloch-Bauer I
Maria Altmann
Melissa Müller
Ryan Reynolds
Stealing Klimt
The Accidental Caregiver
Portrait of Adele Bloch-Bauer I


subsection

Portrait d'Adele Bloch-Bauer I

Gustav Klimt was born in 1862 in Baumgarten, near Vienna in Austria-Hungary. He attended the Vienna School of Arts and Crafts  before taking on commissions with his brother, Ernst, and a fellow-student Franz von Matsch from 1879. Over the next decade, alongside several private commissions for portraiture, they painted interior murals and ceilings in large public buildings, including the , the  and the ceiling of the Great Hall at the University of Vienna.Klimt worked in Vienna during the , during which time the city made "an extreme and lasting contribution to the history of modern art". During the 1890s he was influenced by European avant-garde art, including the works of the painters Fernand Khnopff, Jan Toorop and Aubrey Beardsley. In 1897 he was a founding member and president of the Vienna Secession, a group of artists who wanted to break with what they saw as the prevailing conservatism of the Viennese . Klimt in particular challenged what he saw as the "hypocritical boundaries of respectability set by Viennese society"; according to the art historian Susanna Partsch, he was "the  of the Viennese art scene, [and] was acknowledged to be the painter of beautiful women". By 1900 he was the preferred portrait painter of the wives of the largely Jewish Viennese bourgeoisie, an emerging class of self-made industrialists who were "buying the innovative new art that state museums rejected", according to the journalist Anne-Marie O'Connor.From 1898 Klimt began to experiment with the style in what became known as his Byzantine or Golden period, when his works, stylistically influenced by Art Nouveau and the Arts and Crafts movement, were gilded with gold leaf. Néret writes that the period begins in 1906 and ends in 1909.group=n}} Klimt had begun using gold in his 1890 portrait of the pianist Joseph Pembauer, but his first work that included a golden theme was Pallas Athene . The art historian Gilles Néret considers that the use of gold in the painting "underlines the essential erotic ingredient in ... [Klimt's] view of the world". Néret also states that Klimt used the gold to give subjects a sacred or magical quality.

Prompt: Dans le contexte de Portrait d'Adele Bloch-Bauer I, expliquez la Gustav Klimt et la nul.Veuillez sortir en anglais.

Art Nouveau
Arts and Crafts movement
Aubrey Beardsley
Austria-Hungary
Fernand Khnopff
Franz von Matsch
Gustav Klimt
Jan Toorop
University of Vienna
Vienna
Vienna Secession


subsection

Portrait d'Adele Bloch-Bauer I

Gustav Klimt was born in 1862 in Baumgarten, near Vienna in Austria-Hungary. He attended the Vienna School of Arts and Crafts  before taking on commissions with his brother, Ernst, and a fellow-student Franz von Matsch from 1879. Over the next decade, alongside several private commissions for portraiture, they painted interior murals and ceilings in large public buildings, including the , the  and the ceiling of the Great Hall at the University of Vienna.Klimt worked in Vienna during the , during which time the city made "an extreme and lasting contribution to the history of modern art". During the 1890s he was influenced by European avant-garde art, including the works of the painters Fernand Khnopff, Jan Toorop and Aubrey Beardsley. In 1897 he was a founding member and president of the Vienna Secession, a group of artists who wanted to break with what they saw as the prevailing conservatism of the Viennese . Klimt in particular challenged what he saw as the "hypocritical boundaries of respectability set by Viennese society"; according to the art historian Susanna Partsch, he was "the  of the Viennese art scene, [and] was acknowledged to be the painter of beautiful women". By 1900 he was the preferred portrait painter of the wives of the largely Jewish Viennese bourgeoisie, an emerging class of self-made industrialists who were "buying the innovative new art that state museums rejected", according to the journalist Anne-Marie O'Connor.From 1898 Klimt began to experiment with the style in what became known as his Byzantine or Golden period, when his works, stylistically influenced by Art Nouveau and the Arts and Crafts movement, were gilded with gold leaf. Néret writes that the period begins in 1906 and ends in 1909.group=n}} Klimt had begun using gold in his 1890 portrait of the pianist Joseph Pembauer, but his first work that included a golden theme was Pallas Athene . The art historian Gilles Néret considers that the use of gold in the painting "underlines the essential erotic ingredient in ... [Klimt's] view of the world". Néret also states that Klimt used the gold to give subjects a sacred or magical quality.

Prompt: Expliquer la Gustav Klimt concernant la nul de cette œuvre d'art, Portrait d'Adele Bloch-Bauer I.Veuillez sortir en anglais.

Art Nouveau
Arts and Crafts movement
Aubrey Beardsley
Austria-Hungary
Fernand Khnopff
Franz von Matsch
Gustav Klimt
Jan Toorop
University of Vienna
Vienna
Vienna Secession


subsection

Portrait d'Adele Bloch-Bauer I

Gustav Klimt was born in 1862 in Baumgarten, near Vienna in Austria-Hungary. He attended the Vienna School of Arts and Crafts  before taking on commissions with his brother, Ernst, and a fellow-student Franz von Matsch from 1879. Over the next decade, alongside several private commissions for portraiture, they painted interior murals and ceilings in large public buildings, including the , the  and the ceiling of the Great Hall at the University of Vienna.Klimt worked in Vienna during the , during which time the city made "an extreme and lasting contribution to the history of modern art". During the 1890s he was influenced by European avant-garde art, including the works of the painters Fernand Khnopff, Jan Toorop and Aubrey Beardsley. In 1897 he was a founding member and president of the Vienna Secession, a group of artists who wanted to break with what they saw as the prevailing conservatism of the Viennese . Klimt in particular challenged what he saw as the "hypocritical boundaries of respectability set by Viennese society"; according to the art historian Susanna Partsch, he was "the  of the Viennese art scene, [and] was acknowledged to be the painter of beautiful women". By 1900 he was the preferred portrait painter of the wives of the largely Jewish Viennese bourgeoisie, an emerging class of self-made industrialists who were "buying the innovative new art that state museums rejected", according to the journalist Anne-Marie O'Connor.From 1898 Klimt began to experiment with the style in what became known as his Byzantine or Golden period, when his works, stylistically influenced by Art Nouveau and the Arts and Crafts movement, were gilded with gold leaf. Néret writes that the period begins in 1906 and ends in 1909.group=n}} Klimt had begun using gold in his 1890 portrait of the pianist Joseph Pembauer, but his first work that included a golden theme was Pallas Athene . The art historian Gilles Néret considers that the use of gold in the painting "underlines the essential erotic ingredient in ... [Klimt's] view of the world". Néret also states that Klimt used the gold to give subjects a sacred or magical quality.

Prompt: Dans Portrait d'Adele Bloch-Bauer I, comment la Gustav Klimt de la nul est-elle expliquée?Veuillez sortir en anglais.

Art Nouveau
Arts and Crafts movement
Aubrey Beardsley
Austria-Hungary
Fernand Khnopff
Franz von Matsch
Gustav Klimt
Jan Toorop
University of Vienna
Vienna
Vienna Secession


subsection

Portrait d'Adele Bloch-Bauer I

Gustav Klimt was born in 1862 in Baumgarten, near Vienna in Austria-Hungary. He attended the Vienna School of Arts and Crafts  before taking on commissions with his brother, Ernst, and a fellow-student Franz von Matsch from 1879. Over the next decade, alongside several private commissions for portraiture, they painted interior murals and ceilings in large public buildings, including the , the  and the ceiling of the Great Hall at the University of Vienna.Klimt worked in Vienna during the , during which time the city made "an extreme and lasting contribution to the history of modern art". During the 1890s he was influenced by European avant-garde art, including the works of the painters Fernand Khnopff, Jan Toorop and Aubrey Beardsley. In 1897 he was a founding member and president of the Vienna Secession, a group of artists who wanted to break with what they saw as the prevailing conservatism of the Viennese . Klimt in particular challenged what he saw as the "hypocritical boundaries of respectability set by Viennese society"; according to the art historian Susanna Partsch, he was "the  of the Viennese art scene, [and] was acknowledged to be the painter of beautiful women". By 1900 he was the preferred portrait painter of the wives of the largely Jewish Viennese bourgeoisie, an emerging class of self-made industrialists who were "buying the innovative new art that state museums rejected", according to the journalist Anne-Marie O'Connor.From 1898 Klimt began to experiment with the style in what became known as his Byzantine or Golden period, when his works, stylistically influenced by Art Nouveau and the Arts and Crafts movement, were gilded with gold leaf. Néret writes that the period begins in 1906 and ends in 1909.group=n}} Klimt had begun using gold in his 1890 portrait of the pianist Joseph Pembauer, but his first work that included a golden theme was Pallas Athene . The art historian Gilles Néret considers that the use of gold in the painting "underlines the essential erotic ingredient in ... [Klimt's] view of the world". Néret also states that Klimt used the gold to give subjects a sacred or magical quality.

Prompt: Décrivez les caractéristiques de la Gustav Klimt dans la nul de Portrait d'Adele Bloch-Bauer I.Veuillez sortir en anglais.

Art Nouveau
Arts and Crafts movement
Aubrey Beardsley
Austria-Hungary
Fernand Khnopff
Franz von Matsch
Gustav Klimt
Jan Toorop
University of Vienna
Vienna
Vienna Secession


subsection

Portrait d'Adele Bloch-Bauer I

image2 = Detail of Judith I by Klimt.jpg width2 = 220 height2 =  alt2 =  caption2 = Detail of Judith I , for which Adele modelled}} was from a wealthy Jewish Viennese family. Her father was a director of the Wiener Bankverein, the seventh largest bank in Austria-Hungary, and the general director of the Oriental Railway. In the late 1890s Adele met Klimt, and may have begun a relationship with him. Opinion is divided on whether Adele and Klimt had an affair. The artist Catherine Dean considered that Adele was "the only society lady painted by Klimt who is known definitely to be his mistress", while the journalist Melissa Müller and the academic Monica Tatzkow write that "no evidence has ever been produced that their relationship was more than a friendship". The author Frank Whitford observes that some of the preliminary sketches that Klimt made for The Kiss showed a bearded figure which was possibly a self-portrait; the female partner is described by Whitford as an "idealised portrait of Adele". Whitford writes that the only evidence put forward to support the theory is the position of the woman's right hand, as Adele had a disfigured finger following a childhood accident.Adele's parents arranged a marriage with Ferdinand Bloch, a banker and sugar manufacturer; Adele's older sister had previously married Ferdinand's older brother. Ferdinand was older than his fiancée and at the time of the marriage in December 1899, she was 18 and he was 35. The couple, who had no children, both changed their surnames to Bloch-Bauer. Socially well-connected, Adele brought together writers, politicians and intellectuals for regular salons at their home.group=n}}The couple shared a love of art and patronised several artists, collecting primarily nineteenth-century Viennese paintings and modern sculpture. Ferdinand also had a passion for neoclassical porcelain, and by 1934 his collection was over 400 pieces and one of the finest in the world.In 1901 Klimt painted Judith and the Head of Holofernes; the art historian Gottfried Fliedl observes that the painting is "widely known and interpreted as Salome". Adele was the model for the work and wore a heavily jewelled deep choker given to her by Ferdinand, in what Whitford describes as "Klimt's most erotic painting". Whitford also writes that the painting displays "apparent evidence of ... cuckoldry". In 1903 Ferdinand purchased his first Klimt work from the artist, Buchenwald .group=n}}

Prompt: Dans le contexte de Portrait d'Adele Bloch-Bauer I, expliquez la Ferdinand et Adele Bloch-Bauer et la nul.Veuillez sortir en anglais.

Austria-Hungary
Judith and the Head of Holofernes
Melissa Müller
Wiener Bankverein


subsection

Portrait d'Adele Bloch-Bauer I

image2 = Detail of Judith I by Klimt.jpg width2 = 220 height2 =  alt2 =  caption2 = Detail of Judith I , for which Adele modelled}} was from a wealthy Jewish Viennese family. Her father was a director of the Wiener Bankverein, the seventh largest bank in Austria-Hungary, and the general director of the Oriental Railway. In the late 1890s Adele met Klimt, and may have begun a relationship with him. Opinion is divided on whether Adele and Klimt had an affair. The artist Catherine Dean considered that Adele was "the only society lady painted by Klimt who is known definitely to be his mistress", while the journalist Melissa Müller and the academic Monica Tatzkow write that "no evidence has ever been produced that their relationship was more than a friendship". The author Frank Whitford observes that some of the preliminary sketches that Klimt made for The Kiss showed a bearded figure which was possibly a self-portrait; the female partner is described by Whitford as an "idealised portrait of Adele". Whitford writes that the only evidence put forward to support the theory is the position of the woman's right hand, as Adele had a disfigured finger following a childhood accident.Adele's parents arranged a marriage with Ferdinand Bloch, a banker and sugar manufacturer; Adele's older sister had previously married Ferdinand's older brother. Ferdinand was older than his fiancée and at the time of the marriage in December 1899, she was 18 and he was 35. The couple, who had no children, both changed their surnames to Bloch-Bauer. Socially well-connected, Adele brought together writers, politicians and intellectuals for regular salons at their home.group=n}}The couple shared a love of art and patronised several artists, collecting primarily nineteenth-century Viennese paintings and modern sculpture. Ferdinand also had a passion for neoclassical porcelain, and by 1934 his collection was over 400 pieces and one of the finest in the world.In 1901 Klimt painted Judith and the Head of Holofernes; the art historian Gottfried Fliedl observes that the painting is "widely known and interpreted as Salome". Adele was the model for the work and wore a heavily jewelled deep choker given to her by Ferdinand, in what Whitford describes as "Klimt's most erotic painting". Whitford also writes that the painting displays "apparent evidence of ... cuckoldry". In 1903 Ferdinand purchased his first Klimt work from the artist, Buchenwald .group=n}}

Prompt: Expliquer la Ferdinand et Adele Bloch-Bauer concernant la nul de cette œuvre d'art, Portrait d'Adele Bloch-Bauer I.Veuillez sortir en anglais.

Austria-Hungary
Judith and the Head of Holofernes
Melissa Müller
Wiener Bankverein


subsection

Portrait d'Adele Bloch-Bauer I

image2 = Detail of Judith I by Klimt.jpg width2 = 220 height2 =  alt2 =  caption2 = Detail of Judith I , for which Adele modelled}} was from a wealthy Jewish Viennese family. Her father was a director of the Wiener Bankverein, the seventh largest bank in Austria-Hungary, and the general director of the Oriental Railway. In the late 1890s Adele met Klimt, and may have begun a relationship with him. Opinion is divided on whether Adele and Klimt had an affair. The artist Catherine Dean considered that Adele was "the only society lady painted by Klimt who is known definitely to be his mistress", while the journalist Melissa Müller and the academic Monica Tatzkow write that "no evidence has ever been produced that their relationship was more than a friendship". The author Frank Whitford observes that some of the preliminary sketches that Klimt made for The Kiss showed a bearded figure which was possibly a self-portrait; the female partner is described by Whitford as an "idealised portrait of Adele". Whitford writes that the only evidence put forward to support the theory is the position of the woman's right hand, as Adele had a disfigured finger following a childhood accident.Adele's parents arranged a marriage with Ferdinand Bloch, a banker and sugar manufacturer; Adele's older sister had previously married Ferdinand's older brother. Ferdinand was older than his fiancée and at the time of the marriage in December 1899, she was 18 and he was 35. The couple, who had no children, both changed their surnames to Bloch-Bauer. Socially well-connected, Adele brought together writers, politicians and intellectuals for regular salons at their home.group=n}}The couple shared a love of art and patronised several artists, collecting primarily nineteenth-century Viennese paintings and modern sculpture. Ferdinand also had a passion for neoclassical porcelain, and by 1934 his collection was over 400 pieces and one of the finest in the world.In 1901 Klimt painted Judith and the Head of Holofernes; the art historian Gottfried Fliedl observes that the painting is "widely known and interpreted as Salome". Adele was the model for the work and wore a heavily jewelled deep choker given to her by Ferdinand, in what Whitford describes as "Klimt's most erotic painting". Whitford also writes that the painting displays "apparent evidence of ... cuckoldry". In 1903 Ferdinand purchased his first Klimt work from the artist, Buchenwald .group=n}}

Prompt: Dans Portrait d'Adele Bloch-Bauer I, comment la Ferdinand et Adele Bloch-Bauer de la nul est-elle expliquée?Veuillez sortir en anglais.

Austria-Hungary
Judith and the Head of Holofernes
Melissa Müller
Wiener Bankverein


subsection

Portrait d'Adele Bloch-Bauer I

image2 = Detail of Judith I by Klimt.jpg width2 = 220 height2 =  alt2 =  caption2 = Detail of Judith I , for which Adele modelled}} was from a wealthy Jewish Viennese family. Her father was a director of the Wiener Bankverein, the seventh largest bank in Austria-Hungary, and the general director of the Oriental Railway. In the late 1890s Adele met Klimt, and may have begun a relationship with him. Opinion is divided on whether Adele and Klimt had an affair. The artist Catherine Dean considered that Adele was "the only society lady painted by Klimt who is known definitely to be his mistress", while the journalist Melissa Müller and the academic Monica Tatzkow write that "no evidence has ever been produced that their relationship was more than a friendship". The author Frank Whitford observes that some of the preliminary sketches that Klimt made for The Kiss showed a bearded figure which was possibly a self-portrait; the female partner is described by Whitford as an "idealised portrait of Adele". Whitford writes that the only evidence put forward to support the theory is the position of the woman's right hand, as Adele had a disfigured finger following a childhood accident.Adele's parents arranged a marriage with Ferdinand Bloch, a banker and sugar manufacturer; Adele's older sister had previously married Ferdinand's older brother. Ferdinand was older than his fiancée and at the time of the marriage in December 1899, she was 18 and he was 35. The couple, who had no children, both changed their surnames to Bloch-Bauer. Socially well-connected, Adele brought together writers, politicians and intellectuals for regular salons at their home.group=n}}The couple shared a love of art and patronised several artists, collecting primarily nineteenth-century Viennese paintings and modern sculpture. Ferdinand also had a passion for neoclassical porcelain, and by 1934 his collection was over 400 pieces and one of the finest in the world.In 1901 Klimt painted Judith and the Head of Holofernes; the art historian Gottfried Fliedl observes that the painting is "widely known and interpreted as Salome". Adele was the model for the work and wore a heavily jewelled deep choker given to her by Ferdinand, in what Whitford describes as "Klimt's most erotic painting". Whitford also writes that the painting displays "apparent evidence of ... cuckoldry". In 1903 Ferdinand purchased his first Klimt work from the artist, Buchenwald .group=n}}

Prompt: Décrivez les caractéristiques de la Ferdinand et Adele Bloch-Bauer dans la nul de Portrait d'Adele Bloch-Bauer I.Veuillez sortir en anglais.

Austria-Hungary
Judith and the Head of Holofernes
Melissa Müller
Wiener Bankverein


subsection

Portrait d'Adele Bloch-Bauer I

1903 image2    = Theodora mosaic - Basilica San Vitale .jpg width2    = 225 height2   =  alt2      =  caption2  = The mosaic of Empress Theodora at the Basilica of San Vitale, Ravenna}}In mid-1903 Ferdinand Bloch-Bauer commissioned Klimt to paint a portrait of his wife; he wished to give the piece to Adele's parents as an anniversary present that October. Klimt drew over a hundred preparatory sketches for the portrait between 1903 and 1904.group=n}} The Bloch-Bauers purchased some of the sketches he had made of Adele when they obtained 16 Klimt drawings. In December 1903, along with fellow artist Maximilian Lenz, Klimt visited the Basilica of San Vitale in Ravenna where he studied the early-Christian Byzantine gold ground mosaics of Justinian I and his wife, Empress Theodora. Lenz later wrote that "the mosaics made an immense decisive impression on ... [Klimt]. From this comes the resplendence, the stiff decoration of his art". Klimt later said that the "mosaics of unbelievable splendour" were a "revelation" to him. The Ravenna mosaics also attracted the attention of other artists who provided illustrations of the work, including Wassily Kandinsky in 1911 and Clive Bell in 1914.Klimt undertook more extensive preparations for the portrait than any other piece he worked on.  Much of the portrait was undertaken by an elaborate technique of using gold and silver leaf and then adding decorative motifs in bas-relief using gesso, a paint mixture consisting of a binder mixed with chalk or gypsum. The frame for the painting, covered in gold leaf, was made by the architect Josef Hoffmann. Klimt finished the work by 1907.

Prompt: Dans le contexte de Portrait d'Adele Bloch-Bauer I, expliquez la Préparation, exécution et la nul.Veuillez sortir en anglais.

Basilica of San Vitale
Clive Bell
Josef Hoffmann
Justinian I
Maximilian Lenz
Wassily Kandinsky


subsection

Portrait d'Adele Bloch-Bauer I

1903 image2    = Theodora mosaic - Basilica San Vitale .jpg width2    = 225 height2   =  alt2      =  caption2  = The mosaic of Empress Theodora at the Basilica of San Vitale, Ravenna}}In mid-1903 Ferdinand Bloch-Bauer commissioned Klimt to paint a portrait of his wife; he wished to give the piece to Adele's parents as an anniversary present that October. Klimt drew over a hundred preparatory sketches for the portrait between 1903 and 1904.group=n}} The Bloch-Bauers purchased some of the sketches he had made of Adele when they obtained 16 Klimt drawings. In December 1903, along with fellow artist Maximilian Lenz, Klimt visited the Basilica of San Vitale in Ravenna where he studied the early-Christian Byzantine gold ground mosaics of Justinian I and his wife, Empress Theodora. Lenz later wrote that "the mosaics made an immense decisive impression on ... [Klimt]. From this comes the resplendence, the stiff decoration of his art". Klimt later said that the "mosaics of unbelievable splendour" were a "revelation" to him. The Ravenna mosaics also attracted the attention of other artists who provided illustrations of the work, including Wassily Kandinsky in 1911 and Clive Bell in 1914.Klimt undertook more extensive preparations for the portrait than any other piece he worked on.  Much of the portrait was undertaken by an elaborate technique of using gold and silver leaf and then adding decorative motifs in bas-relief using gesso, a paint mixture consisting of a binder mixed with chalk or gypsum. The frame for the painting, covered in gold leaf, was made by the architect Josef Hoffmann. Klimt finished the work by 1907.

Prompt: Expliquer la Préparation, exécution concernant la nul de cette œuvre d'art, Portrait d'Adele Bloch-Bauer I.Veuillez sortir en anglais.

Basilica of San Vitale
Clive Bell
Josef Hoffmann
Justinian I
Maximilian Lenz
Wassily Kandinsky


subsection

Portrait d'Adele Bloch-Bauer I

1903 image2    = Theodora mosaic - Basilica San Vitale .jpg width2    = 225 height2   =  alt2      =  caption2  = The mosaic of Empress Theodora at the Basilica of San Vitale, Ravenna}}In mid-1903 Ferdinand Bloch-Bauer commissioned Klimt to paint a portrait of his wife; he wished to give the piece to Adele's parents as an anniversary present that October. Klimt drew over a hundred preparatory sketches for the portrait between 1903 and 1904.group=n}} The Bloch-Bauers purchased some of the sketches he had made of Adele when they obtained 16 Klimt drawings. In December 1903, along with fellow artist Maximilian Lenz, Klimt visited the Basilica of San Vitale in Ravenna where he studied the early-Christian Byzantine gold ground mosaics of Justinian I and his wife, Empress Theodora. Lenz later wrote that "the mosaics made an immense decisive impression on ... [Klimt]. From this comes the resplendence, the stiff decoration of his art". Klimt later said that the "mosaics of unbelievable splendour" were a "revelation" to him. The Ravenna mosaics also attracted the attention of other artists who provided illustrations of the work, including Wassily Kandinsky in 1911 and Clive Bell in 1914.Klimt undertook more extensive preparations for the portrait than any other piece he worked on.  Much of the portrait was undertaken by an elaborate technique of using gold and silver leaf and then adding decorative motifs in bas-relief using gesso, a paint mixture consisting of a binder mixed with chalk or gypsum. The frame for the painting, covered in gold leaf, was made by the architect Josef Hoffmann. Klimt finished the work by 1907.

Prompt: Dans Portrait d'Adele Bloch-Bauer I, comment la Préparation, exécution de la nul est-elle expliquée?Veuillez sortir en anglais.

Basilica of San Vitale
Clive Bell
Josef Hoffmann
Justinian I
Maximilian Lenz
Wassily Kandinsky


subsection

Portrait d'Adele Bloch-Bauer I

1903 image2    = Theodora mosaic - Basilica San Vitale .jpg width2    = 225 height2   =  alt2      =  caption2  = The mosaic of Empress Theodora at the Basilica of San Vitale, Ravenna}}In mid-1903 Ferdinand Bloch-Bauer commissioned Klimt to paint a portrait of his wife; he wished to give the piece to Adele's parents as an anniversary present that October. Klimt drew over a hundred preparatory sketches for the portrait between 1903 and 1904.group=n}} The Bloch-Bauers purchased some of the sketches he had made of Adele when they obtained 16 Klimt drawings. In December 1903, along with fellow artist Maximilian Lenz, Klimt visited the Basilica of San Vitale in Ravenna where he studied the early-Christian Byzantine gold ground mosaics of Justinian I and his wife, Empress Theodora. Lenz later wrote that "the mosaics made an immense decisive impression on ... [Klimt]. From this comes the resplendence, the stiff decoration of his art". Klimt later said that the "mosaics of unbelievable splendour" were a "revelation" to him. The Ravenna mosaics also attracted the attention of other artists who provided illustrations of the work, including Wassily Kandinsky in 1911 and Clive Bell in 1914.Klimt undertook more extensive preparations for the portrait than any other piece he worked on.  Much of the portrait was undertaken by an elaborate technique of using gold and silver leaf and then adding decorative motifs in bas-relief using gesso, a paint mixture consisting of a binder mixed with chalk or gypsum. The frame for the painting, covered in gold leaf, was made by the architect Josef Hoffmann. Klimt finished the work by 1907.

Prompt: Décrivez les caractéristiques de la Préparation, exécution dans la nul de Portrait d'Adele Bloch-Bauer I.Veuillez sortir en anglais.

Basilica of San Vitale
Clive Bell
Josef Hoffmann
Justinian I
Maximilian Lenz
Wassily Kandinsky


subsection

Portrait d'Adele Bloch-Bauer I

The painting measures ;.group=n}} it is composed of oil paint and silver and gold leaf on canvas. The portrait shows Adele Bloch-Bauer sitting on a golden throne or chair, in front of a golden starry background. Around her neck is the same jewelled choker Klimt included in the Judith painting. She wears a tight golden dress in a triangular shape, made up of rectilinear forms. In places the dress merges into the background so much so that the museum curator Jan Thompson writes that "one comes across the model almost by accident, so enveloped is she in the thick geometric scheme". Peter Vergo, writing for Grove Art, considers that the painting "marks the height of ... [Klimt's] gold-encrusted manner of painting".Adele's hair, face, décolletage and hands are painted in oil; they make up less than a twelfth of the work and, in Whitford's opinion, convey little about the sitter's character. For Whitford the effect of the gold background is to "remove Adele Bloch-Bauer from the earthly plane, transform the flesh and blood into an apparition from a dream of sensuality and self-indulgence"; he, and Thomson, consider the work to look more like a religious icon than a secular portrait. O'Connor writes that the painting "seem[s] to embody femininity" and thus likens it to the Mona Lisa, while for Müller and Tatzkow, the gold gives the effect that Adele appears "melancholy and vulnerable, unapproachably aloof and yet rapt".Both the current holder of the portrait—the Neue Galerie New York—and the art historian Elana Shapira describe how the background and gown contain symbols suggestive of erotica, including triangles, eggs, shapes of eyes and almonds. Also present are decorative motifs on the theme of the letters A and B, the sitter's initials. Whitford identifies influences of the art of the Byzantine, Egypt, Mycenae and Greece, describing that "the gold is like that in Byzantine mosaics; the eyes on the dress are Egyptian, the repeated coils and whorls Mycenaean, while other decorative devices, based on the initial letters of the sitter's name, are vaguely Greek".

Prompt: Dans le contexte de Portrait d'Adele Bloch-Bauer I, expliquez la Description et la nul.Veuillez sortir en anglais.

Adele Bloch-Bauer
Adele Bloch-Bauer
Mona Lisa
Neue Galerie New York


subsection

Portrait d'Adele Bloch-Bauer I

The painting measures ;.group=n}} it is composed of oil paint and silver and gold leaf on canvas. The portrait shows Adele Bloch-Bauer sitting on a golden throne or chair, in front of a golden starry background. Around her neck is the same jewelled choker Klimt included in the Judith painting. She wears a tight golden dress in a triangular shape, made up of rectilinear forms. In places the dress merges into the background so much so that the museum curator Jan Thompson writes that "one comes across the model almost by accident, so enveloped is she in the thick geometric scheme". Peter Vergo, writing for Grove Art, considers that the painting "marks the height of ... [Klimt's] gold-encrusted manner of painting".Adele's hair, face, décolletage and hands are painted in oil; they make up less than a twelfth of the work and, in Whitford's opinion, convey little about the sitter's character. For Whitford the effect of the gold background is to "remove Adele Bloch-Bauer from the earthly plane, transform the flesh and blood into an apparition from a dream of sensuality and self-indulgence"; he, and Thomson, consider the work to look more like a religious icon than a secular portrait. O'Connor writes that the painting "seem[s] to embody femininity" and thus likens it to the Mona Lisa, while for Müller and Tatzkow, the gold gives the effect that Adele appears "melancholy and vulnerable, unapproachably aloof and yet rapt".Both the current holder of the portrait—the Neue Galerie New York—and the art historian Elana Shapira describe how the background and gown contain symbols suggestive of erotica, including triangles, eggs, shapes of eyes and almonds. Also present are decorative motifs on the theme of the letters A and B, the sitter's initials. Whitford identifies influences of the art of the Byzantine, Egypt, Mycenae and Greece, describing that "the gold is like that in Byzantine mosaics; the eyes on the dress are Egyptian, the repeated coils and whorls Mycenaean, while other decorative devices, based on the initial letters of the sitter's name, are vaguely Greek".

Prompt: Expliquer la Description concernant la nul de cette œuvre d'art, Portrait d'Adele Bloch-Bauer I.Veuillez sortir en anglais.

Adele Bloch-Bauer
Adele Bloch-Bauer
Mona Lisa
Neue Galerie New York


subsection

Portrait d'Adele Bloch-Bauer I

The painting measures ;.group=n}} it is composed of oil paint and silver and gold leaf on canvas. The portrait shows Adele Bloch-Bauer sitting on a golden throne or chair, in front of a golden starry background. Around her neck is the same jewelled choker Klimt included in the Judith painting. She wears a tight golden dress in a triangular shape, made up of rectilinear forms. In places the dress merges into the background so much so that the museum curator Jan Thompson writes that "one comes across the model almost by accident, so enveloped is she in the thick geometric scheme". Peter Vergo, writing for Grove Art, considers that the painting "marks the height of ... [Klimt's] gold-encrusted manner of painting".Adele's hair, face, décolletage and hands are painted in oil; they make up less than a twelfth of the work and, in Whitford's opinion, convey little about the sitter's character. For Whitford the effect of the gold background is to "remove Adele Bloch-Bauer from the earthly plane, transform the flesh and blood into an apparition from a dream of sensuality and self-indulgence"; he, and Thomson, consider the work to look more like a religious icon than a secular portrait. O'Connor writes that the painting "seem[s] to embody femininity" and thus likens it to the Mona Lisa, while for Müller and Tatzkow, the gold gives the effect that Adele appears "melancholy and vulnerable, unapproachably aloof and yet rapt".Both the current holder of the portrait—the Neue Galerie New York—and the art historian Elana Shapira describe how the background and gown contain symbols suggestive of erotica, including triangles, eggs, shapes of eyes and almonds. Also present are decorative motifs on the theme of the letters A and B, the sitter's initials. Whitford identifies influences of the art of the Byzantine, Egypt, Mycenae and Greece, describing that "the gold is like that in Byzantine mosaics; the eyes on the dress are Egyptian, the repeated coils and whorls Mycenaean, while other decorative devices, based on the initial letters of the sitter's name, are vaguely Greek".

Prompt: Dans Portrait d'Adele Bloch-Bauer I, comment la Description de la nul est-elle expliquée?Veuillez sortir en anglais.

Adele Bloch-Bauer
Adele Bloch-Bauer
Mona Lisa
Neue Galerie New York


subsection

Portrait d'Adele Bloch-Bauer I

The painting measures ;.group=n}} it is composed of oil paint and silver and gold leaf on canvas. The portrait shows Adele Bloch-Bauer sitting on a golden throne or chair, in front of a golden starry background. Around her neck is the same jewelled choker Klimt included in the Judith painting. She wears a tight golden dress in a triangular shape, made up of rectilinear forms. In places the dress merges into the background so much so that the museum curator Jan Thompson writes that "one comes across the model almost by accident, so enveloped is she in the thick geometric scheme". Peter Vergo, writing for Grove Art, considers that the painting "marks the height of ... [Klimt's] gold-encrusted manner of painting".Adele's hair, face, décolletage and hands are painted in oil; they make up less than a twelfth of the work and, in Whitford's opinion, convey little about the sitter's character. For Whitford the effect of the gold background is to "remove Adele Bloch-Bauer from the earthly plane, transform the flesh and blood into an apparition from a dream of sensuality and self-indulgence"; he, and Thomson, consider the work to look more like a religious icon than a secular portrait. O'Connor writes that the painting "seem[s] to embody femininity" and thus likens it to the Mona Lisa, while for Müller and Tatzkow, the gold gives the effect that Adele appears "melancholy and vulnerable, unapproachably aloof and yet rapt".Both the current holder of the portrait—the Neue Galerie New York—and the art historian Elana Shapira describe how the background and gown contain symbols suggestive of erotica, including triangles, eggs, shapes of eyes and almonds. Also present are decorative motifs on the theme of the letters A and B, the sitter's initials. Whitford identifies influences of the art of the Byzantine, Egypt, Mycenae and Greece, describing that "the gold is like that in Byzantine mosaics; the eyes on the dress are Egyptian, the repeated coils and whorls Mycenaean, while other decorative devices, based on the initial letters of the sitter's name, are vaguely Greek".

Prompt: Décrivez les caractéristiques de la Description dans la nul de Portrait d'Adele Bloch-Bauer I.Veuillez sortir en anglais.

Adele Bloch-Bauer
Adele Bloch-Bauer
Mona Lisa
Neue Galerie New York


subsection

Portrait d'Adele Bloch-Bauer I

After exhibition at the , the portrait was hung at the Bloch-Bauer's Vienna residence. In 1912 Ferdinand commissioned a second painting of his wife, in which "the erotic charge of the likeness of 1907 has been spent", according to Whitford. In February 1918, Klimt suffered a stroke and was hospitalised; he caught pneumonia due to the worldwide influenza epidemic and died that month.On 19 January 1923 Adele Bloch-Bauer wrote a will. Ferdinand's brother Gustav, a lawyer by training, helped her frame the document and was named as the executor. The will included a reference to the Klimt works owned by the couple, including the two portraits of her:In February 1925 Adele died of meningitis. Shortly afterwards Gustav filed for probate; he included a document that stated that the clause in the will was precatory, i.e. a request rather than a binding testament. He added that Ferdinand had said he would honour the clause, even though he, not Adele, was the legal owner of the paintings. The works by Klimt which Ferdinand owned, including the two portraits, were moved to Adele's bedroom as a shrine to her. The painting was lent for an exhibition at the Vienna Secession in 1928 to mark the tenth anniversary of Klimt's death; in 1934 it was displayed in London as part of the Austria in London exhibition. In 1936 Ferdinand gave Schloss Kammer am Attersee III to the Österreichische Galerie Belvedere; he later acquired a further Klimt painting, the Portrait of Amalie Zuckerkandl . In 1937 the golden portrait of Adele was lent for display at the Paris Exposition.In December 1937 Gustav's daughter–and Ferdinand's niece–Maria, married the young opera singer Fritz Altman. Ferdinand gave her Adele's jewelled choker, depicted in the painting, as a wedding present. Ferdinand left Vienna for his Czechoslovakian castle in March 1938, following the Anschluss  of Austria by Nazi Germany. That autumn, following the Munich Agreement allowing the Nazi annexations in Czechoslovakia, he realised he was not safe and left for Paris. In September the following year, he moved to neutral Switzerland where he lived in a hotel. In his absence the Nazi regime falsely accused him of evading taxes of 1.4 million Reichsmarks. His assets were frozen and, in May 1938, a seizure order was issued that allowed the state to dispose of his property as they felt fit. His sugar factory was confiscated and turned over to the state, and went through a process of Aryanisation as Jewish shareholders and managers were replaced. His Viennese residence became an office of , the German railway company, while his castle in Czechoslovakia was taken after the German occupation as the personal residence of the SS-Obergruppenführer Reinhard Heydrich.As part of the process to deal with the purported tax evasion, the Nazi lawyer Friedrich Führer was appointed as the administrator of the estate. In January 1939 he convened a meeting of museum and gallery directors to inspect the works and to give an indication of which they would like to obtain. After the collection was catalogued, Adolf Hitler used the  decree to obtain part of the collection at a reduced price.group=n}} Several other Nazi leaders, including Hermann Göring, the Commander-in-Chief of the , also obtained works from the collection. Göring also used the  decree to obtain the jewelled choker that had been given to Maria Altmann; it was given as a gift to Emmy, his wife.In December 1941 Führer transferred the paintings Portrait of Adele Bloch-Bauer I and Apfelbaum I to the Galerie Belvedere in return for Schloss Kammer am Attersee III, which he then sold to Gustav Ucicky, an illegitimate son of Klimt. A note accompanying the paintings stated he was acting in accordance with Adele's will. To remove all reference to its Jewish subject matter, the gallery renamed the portrait with the German title  .

Prompt: Dans le contexte de Portrait d'Adele Bloch-Bauer I, expliquez la mille neuf cent douze–mille neuf cent quarante-cinq et la nul.Veuillez sortir en anglais.

Adele Bloch-Bauer
Adele Bloch-Bauer
Adolf Hitler
Anschluss
Friedrich Führer
Gustav Ucicky
Hermann Göring
Portrait of Adele Bloch-Bauer I
Maria Altmann
Munich Agreement
Obergruppenführer
Reichsmark
Reinhard Heydrich
Vienna
Vienna Secession
Portrait of Adele Bloch-Bauer I
Österreichische Galerie Belvedere


subsection

Portrait d'Adele Bloch-Bauer I

After exhibition at the , the portrait was hung at the Bloch-Bauer's Vienna residence. In 1912 Ferdinand commissioned a second painting of his wife, in which "the erotic charge of the likeness of 1907 has been spent", according to Whitford. In February 1918, Klimt suffered a stroke and was hospitalised; he caught pneumonia due to the worldwide influenza epidemic and died that month.On 19 January 1923 Adele Bloch-Bauer wrote a will. Ferdinand's brother Gustav, a lawyer by training, helped her frame the document and was named as the executor. The will included a reference to the Klimt works owned by the couple, including the two portraits of her:In February 1925 Adele died of meningitis. Shortly afterwards Gustav filed for probate; he included a document that stated that the clause in the will was precatory, i.e. a request rather than a binding testament. He added that Ferdinand had said he would honour the clause, even though he, not Adele, was the legal owner of the paintings. The works by Klimt which Ferdinand owned, including the two portraits, were moved to Adele's bedroom as a shrine to her. The painting was lent for an exhibition at the Vienna Secession in 1928 to mark the tenth anniversary of Klimt's death; in 1934 it was displayed in London as part of the Austria in London exhibition. In 1936 Ferdinand gave Schloss Kammer am Attersee III to the Österreichische Galerie Belvedere; he later acquired a further Klimt painting, the Portrait of Amalie Zuckerkandl . In 1937 the golden portrait of Adele was lent for display at the Paris Exposition.In December 1937 Gustav's daughter–and Ferdinand's niece–Maria, married the young opera singer Fritz Altman. Ferdinand gave her Adele's jewelled choker, depicted in the painting, as a wedding present. Ferdinand left Vienna for his Czechoslovakian castle in March 1938, following the Anschluss  of Austria by Nazi Germany. That autumn, following the Munich Agreement allowing the Nazi annexations in Czechoslovakia, he realised he was not safe and left for Paris. In September the following year, he moved to neutral Switzerland where he lived in a hotel. In his absence the Nazi regime falsely accused him of evading taxes of 1.4 million Reichsmarks. His assets were frozen and, in May 1938, a seizure order was issued that allowed the state to dispose of his property as they felt fit. His sugar factory was confiscated and turned over to the state, and went through a process of Aryanisation as Jewish shareholders and managers were replaced. His Viennese residence became an office of , the German railway company, while his castle in Czechoslovakia was taken after the German occupation as the personal residence of the SS-Obergruppenführer Reinhard Heydrich.As part of the process to deal with the purported tax evasion, the Nazi lawyer Friedrich Führer was appointed as the administrator of the estate. In January 1939 he convened a meeting of museum and gallery directors to inspect the works and to give an indication of which they would like to obtain. After the collection was catalogued, Adolf Hitler used the  decree to obtain part of the collection at a reduced price.group=n}} Several other Nazi leaders, including Hermann Göring, the Commander-in-Chief of the , also obtained works from the collection. Göring also used the  decree to obtain the jewelled choker that had been given to Maria Altmann; it was given as a gift to Emmy, his wife.In December 1941 Führer transferred the paintings Portrait of Adele Bloch-Bauer I and Apfelbaum I to the Galerie Belvedere in return for Schloss Kammer am Attersee III, which he then sold to Gustav Ucicky, an illegitimate son of Klimt. A note accompanying the paintings stated he was acting in accordance with Adele's will. To remove all reference to its Jewish subject matter, the gallery renamed the portrait with the German title  .

Prompt: Expliquer la mille neuf cent douze–mille neuf cent quarante-cinq concernant la nul de cette œuvre d'art, Portrait d'Adele Bloch-Bauer I.Veuillez sortir en anglais.

Adele Bloch-Bauer
Adele Bloch-Bauer
Adolf Hitler
Anschluss
Friedrich Führer
Gustav Ucicky
Hermann Göring
Portrait of Adele Bloch-Bauer I
Maria Altmann
Munich Agreement
Obergruppenführer
Reichsmark
Reinhard Heydrich
Vienna
Vienna Secession
Portrait of Adele Bloch-Bauer I
Österreichische Galerie Belvedere