Virgin of Vladimir

Prompt: Focus on Virgin of Vladimir and explain the Location and display.

Our Lady of Vladimir is on display at the Church of St. Nicholas in Tolmachi. As a result of an agreement between the Tretyakov and Moscow Patriarchate, the church is both an active Russian Orthodox house church and functioning museum. Previously, there had been a contentious ownership dispute between the two.In 1997, the Tretyakov completed a full restoration of the church. Security improvements to store and display art were added, and an underground passageway was additionally made to connect it to the State Tretyakov Gallery. In order to house the famous icon, a temperature controlled bulletproof glass case was commissioned. On 7 September 1996, Our Lady of Vladimir was first installed in the special case located within the church, and the next day Patriarch Alexy II consecrated the church. According to Archpriest Nikolai Sokolov, the rector for the church, the case would able to withstand the firing of a Kalashnikov rifle as well as many other potential hazards.Due to its dual status as both church and museum, visitors are allowed to pray before the icon and divine Liturgies are regularly held on selected days. However, visitors can only enter the church through the Tretyakov Gallery and via the underground passageway.

The surviving portion of the {{interlanguage link

Prince Andrew removing the icon from a convent in Vyshhorod. A miniature from the [[Illustrated Chronicle of Ivan the Terrible

Gregorian calendar § Difference between Gregorian and Julian calendar dates

Gregorian calendar#Difference between Gregorian and Julian calendar dates

File:Vladimirskaja ikona Božiej Materi v Tret'jakovskoj.jpg

Byzantine Empire under the Komnenos dynasty

Our Lady of Vladimir on display within the church

Category:Eastern Orthodox icons of the Virgin Mary

File:Facial Chronicle - Vyshgorod icon.jpg

Category:Paintings of the Madonna and Child

This sixteenth century icon shows Metropolitan [[Cyprian, Metropolitan of Kiev

Category:Titles of Mary, mother of Jesus


Virgin of Vladimir

Prompt: Explain the Location and display of this artwork, Virgin of Vladimir.

Our Lady of Vladimir is on display at the Church of St. Nicholas in Tolmachi. As a result of an agreement between the Tretyakov and Moscow Patriarchate, the church is both an active Russian Orthodox house church and functioning museum. Previously, there had been a contentious ownership dispute between the two.In 1997, the Tretyakov completed a full restoration of the church. Security improvements to store and display art were added, and an underground passageway was additionally made to connect it to the State Tretyakov Gallery. In order to house the famous icon, a temperature controlled bulletproof glass case was commissioned. On 7 September 1996, Our Lady of Vladimir was first installed in the special case located within the church, and the next day Patriarch Alexy II consecrated the church. According to Archpriest Nikolai Sokolov, the rector for the church, the case would able to withstand the firing of a Kalashnikov rifle as well as many other potential hazards.Due to its dual status as both church and museum, visitors are allowed to pray before the icon and divine Liturgies are regularly held on selected days. However, visitors can only enter the church through the Tretyakov Gallery and via the underground passageway.

The surviving portion of the {{interlanguage link

Prince Andrew removing the icon from a convent in Vyshhorod. A miniature from the [[Illustrated Chronicle of Ivan the Terrible

Gregorian calendar § Difference between Gregorian and Julian calendar dates

Gregorian calendar#Difference between Gregorian and Julian calendar dates

File:Vladimirskaja ikona Božiej Materi v Tret'jakovskoj.jpg

Byzantine Empire under the Komnenos dynasty

Our Lady of Vladimir on display within the church

Category:Eastern Orthodox icons of the Virgin Mary

File:Facial Chronicle - Vyshgorod icon.jpg

Category:Paintings of the Madonna and Child

This sixteenth century icon shows Metropolitan [[Cyprian, Metropolitan of Kiev

Category:Titles of Mary, mother of Jesus


Virgin of Vladimir

Prompt: How does Virgin of Vladimir explain its Location and display?

Our Lady of Vladimir is on display at the Church of St. Nicholas in Tolmachi. As a result of an agreement between the Tretyakov and Moscow Patriarchate, the church is both an active Russian Orthodox house church and functioning museum. Previously, there had been a contentious ownership dispute between the two.In 1997, the Tretyakov completed a full restoration of the church. Security improvements to store and display art were added, and an underground passageway was additionally made to connect it to the State Tretyakov Gallery. In order to house the famous icon, a temperature controlled bulletproof glass case was commissioned. On 7 September 1996, Our Lady of Vladimir was first installed in the special case located within the church, and the next day Patriarch Alexy II consecrated the church. According to Archpriest Nikolai Sokolov, the rector for the church, the case would able to withstand the firing of a Kalashnikov rifle as well as many other potential hazards.Due to its dual status as both church and museum, visitors are allowed to pray before the icon and divine Liturgies are regularly held on selected days. However, visitors can only enter the church through the Tretyakov Gallery and via the underground passageway.

The surviving portion of the {{interlanguage link

Prince Andrew removing the icon from a convent in Vyshhorod. A miniature from the [[Illustrated Chronicle of Ivan the Terrible

Gregorian calendar § Difference between Gregorian and Julian calendar dates

Gregorian calendar#Difference between Gregorian and Julian calendar dates

File:Vladimirskaja ikona Božiej Materi v Tret'jakovskoj.jpg

Byzantine Empire under the Komnenos dynasty

Our Lady of Vladimir on display within the church

Category:Eastern Orthodox icons of the Virgin Mary

File:Facial Chronicle - Vyshgorod icon.jpg

Category:Paintings of the Madonna and Child

This sixteenth century icon shows Metropolitan [[Cyprian, Metropolitan of Kiev

Category:Titles of Mary, mother of Jesus


Virgin of Vladimir

Prompt: In Virgin of Vladimir, how is the Location and display discussed?

Our Lady of Vladimir is on display at the Church of St. Nicholas in Tolmachi. As a result of an agreement between the Tretyakov and Moscow Patriarchate, the church is both an active Russian Orthodox house church and functioning museum. Previously, there had been a contentious ownership dispute between the two.In 1997, the Tretyakov completed a full restoration of the church. Security improvements to store and display art were added, and an underground passageway was additionally made to connect it to the State Tretyakov Gallery. In order to house the famous icon, a temperature controlled bulletproof glass case was commissioned. On 7 September 1996, Our Lady of Vladimir was first installed in the special case located within the church, and the next day Patriarch Alexy II consecrated the church. According to Archpriest Nikolai Sokolov, the rector for the church, the case would able to withstand the firing of a Kalashnikov rifle as well as many other potential hazards.Due to its dual status as both church and museum, visitors are allowed to pray before the icon and divine Liturgies are regularly held on selected days. However, visitors can only enter the church through the Tretyakov Gallery and via the underground passageway.

The surviving portion of the {{interlanguage link

Prince Andrew removing the icon from a convent in Vyshhorod. A miniature from the [[Illustrated Chronicle of Ivan the Terrible

Gregorian calendar § Difference between Gregorian and Julian calendar dates

Gregorian calendar#Difference between Gregorian and Julian calendar dates

File:Vladimirskaja ikona Božiej Materi v Tret'jakovskoj.jpg

Byzantine Empire under the Komnenos dynasty

Our Lady of Vladimir on display within the church

Category:Eastern Orthodox icons of the Virgin Mary

File:Facial Chronicle - Vyshgorod icon.jpg

Category:Paintings of the Madonna and Child

This sixteenth century icon shows Metropolitan [[Cyprian, Metropolitan of Kiev

Category:Titles of Mary, mother of Jesus


Virgin of Vladimir

Prompt: Focus on Virgin of Vladimir and explain the Copies and influence.

Even more than most, the original icon has been repeatedly duplicated for centuries, and many copies also have considerable artistic and religious significance of their own. According to Suzanne Massie, it became a standard for many Russian contemporary depictions of Mary.In preparation for the 1980 Summer Olympics, a chapel was constructed for athletes to be able to pray before competition which hosted a copy of the icon.

The surviving portion of the {{interlanguage link

Prince Andrew removing the icon from a convent in Vyshhorod. A miniature from the [[Illustrated Chronicle of Ivan the Terrible

Gregorian calendar § Difference between Gregorian and Julian calendar dates

Gregorian calendar#Difference between Gregorian and Julian calendar dates

File:Vladimirskaja ikona Božiej Materi v Tret'jakovskoj.jpg

Byzantine Empire under the Komnenos dynasty

Our Lady of Vladimir on display within the church

Category:Eastern Orthodox icons of the Virgin Mary

File:Facial Chronicle - Vyshgorod icon.jpg

Category:Paintings of the Madonna and Child

This sixteenth century icon shows Metropolitan [[Cyprian, Metropolitan of Kiev

Category:Titles of Mary, mother of Jesus


Virgin of Vladimir

Prompt: Explain the Copies and influence of this artwork, Virgin of Vladimir.

Even more than most, the original icon has been repeatedly duplicated for centuries, and many copies also have considerable artistic and religious significance of their own. According to Suzanne Massie, it became a standard for many Russian contemporary depictions of Mary.In preparation for the 1980 Summer Olympics, a chapel was constructed for athletes to be able to pray before competition which hosted a copy of the icon.

The surviving portion of the {{interlanguage link

Prince Andrew removing the icon from a convent in Vyshhorod. A miniature from the [[Illustrated Chronicle of Ivan the Terrible

Gregorian calendar § Difference between Gregorian and Julian calendar dates

Gregorian calendar#Difference between Gregorian and Julian calendar dates

File:Vladimirskaja ikona Božiej Materi v Tret'jakovskoj.jpg

Byzantine Empire under the Komnenos dynasty

Our Lady of Vladimir on display within the church

Category:Eastern Orthodox icons of the Virgin Mary

File:Facial Chronicle - Vyshgorod icon.jpg

Category:Paintings of the Madonna and Child

This sixteenth century icon shows Metropolitan [[Cyprian, Metropolitan of Kiev

Category:Titles of Mary, mother of Jesus


Virgin of Vladimir

Prompt: How does Virgin of Vladimir explain its Copies and influence?

Even more than most, the original icon has been repeatedly duplicated for centuries, and many copies also have considerable artistic and religious significance of their own. According to Suzanne Massie, it became a standard for many Russian contemporary depictions of Mary.In preparation for the 1980 Summer Olympics, a chapel was constructed for athletes to be able to pray before competition which hosted a copy of the icon.

The surviving portion of the {{interlanguage link

Prince Andrew removing the icon from a convent in Vyshhorod. A miniature from the [[Illustrated Chronicle of Ivan the Terrible

Gregorian calendar § Difference between Gregorian and Julian calendar dates

Gregorian calendar#Difference between Gregorian and Julian calendar dates

File:Vladimirskaja ikona Božiej Materi v Tret'jakovskoj.jpg

Byzantine Empire under the Komnenos dynasty

Our Lady of Vladimir on display within the church

Category:Eastern Orthodox icons of the Virgin Mary

File:Facial Chronicle - Vyshgorod icon.jpg

Category:Paintings of the Madonna and Child

This sixteenth century icon shows Metropolitan [[Cyprian, Metropolitan of Kiev

Category:Titles of Mary, mother of Jesus


Virgin of Vladimir

Prompt: In Virgin of Vladimir, how is the Copies and influence discussed?

Even more than most, the original icon has been repeatedly duplicated for centuries, and many copies also have considerable artistic and religious significance of their own. According to Suzanne Massie, it became a standard for many Russian contemporary depictions of Mary.In preparation for the 1980 Summer Olympics, a chapel was constructed for athletes to be able to pray before competition which hosted a copy of the icon.

The surviving portion of the {{interlanguage link

Prince Andrew removing the icon from a convent in Vyshhorod. A miniature from the [[Illustrated Chronicle of Ivan the Terrible

Gregorian calendar § Difference between Gregorian and Julian calendar dates

Gregorian calendar#Difference between Gregorian and Julian calendar dates

File:Vladimirskaja ikona Božiej Materi v Tret'jakovskoj.jpg

Byzantine Empire under the Komnenos dynasty

Our Lady of Vladimir on display within the church

Category:Eastern Orthodox icons of the Virgin Mary

File:Facial Chronicle - Vyshgorod icon.jpg

Category:Paintings of the Madonna and Child

This sixteenth century icon shows Metropolitan [[Cyprian, Metropolitan of Kiev

Category:Titles of Mary, mother of Jesus


Portrait of Adele Bloch-Bauer I

Prompt: Focus on Portrait of Adele Bloch-Bauer I and explain the abstract.

Portrait of Adele Bloch-Bauer I (also called The Lady in Gold or The Woman in Gold) 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 Lauder to place the work in the Neue Galerie, the public New York–based gallery he co-founded.

United States District Court for the Central District of California

Gustav Klimt#Golden phase and critical success

''Portrait of Fritza Riedler'' (1906), exhibited and criticised alongside the ''Portrait of Adele Bloch-Bauer'' in 1907

Public poster concerning the departure of the painting from Austria

The decorative motifs: symbols suggestive of [[erotica

Detail showing the jewelled choker given to [[Maria Altmann

File:Adele Bloch-Bauer (detail of motifs).jpg

Exposition Internationale des Arts et Techniques dans la Vie Moderne

File:Klimt - Bildnis Fritza Riedler - 1906.jpeg

Category:Paintings in the Neue Galerie New York

File:Adele Bloch-Bauer (detail of face).jpg

Klimt's ''Schloss Kammer am Attersee III'' (1910), which was swapped for the ''Portrait of Adele Bloch-Bauer I''


Portrait of Adele Bloch-Bauer I

Prompt: Explain the abstract of this artwork, Portrait of Adele Bloch-Bauer I.

Portrait of Adele Bloch-Bauer I (also called The Lady in Gold or The Woman in Gold) 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 Lauder to place the work in the Neue Galerie, the public New York–based gallery he co-founded.

United States District Court for the Central District of California

Gustav Klimt#Golden phase and critical success

''Portrait of Fritza Riedler'' (1906), exhibited and criticised alongside the ''Portrait of Adele Bloch-Bauer'' in 1907

Public poster concerning the departure of the painting from Austria

The decorative motifs: symbols suggestive of [[erotica

Detail showing the jewelled choker given to [[Maria Altmann

File:Adele Bloch-Bauer (detail of motifs).jpg

Exposition Internationale des Arts et Techniques dans la Vie Moderne

File:Klimt - Bildnis Fritza Riedler - 1906.jpeg

Category:Paintings in the Neue Galerie New York

File:Adele Bloch-Bauer (detail of face).jpg

Klimt's ''Schloss Kammer am Attersee III'' (1910), which was swapped for the ''Portrait of Adele Bloch-Bauer I''


Portrait of Adele Bloch-Bauer I

Prompt: How does Portrait of Adele Bloch-Bauer I explain its abstract?

Portrait of Adele Bloch-Bauer I (also called The Lady in Gold or The Woman in Gold) 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 Lauder to place the work in the Neue Galerie, the public New York–based gallery he co-founded.

United States District Court for the Central District of California

Gustav Klimt#Golden phase and critical success

''Portrait of Fritza Riedler'' (1906), exhibited and criticised alongside the ''Portrait of Adele Bloch-Bauer'' in 1907

Public poster concerning the departure of the painting from Austria

The decorative motifs: symbols suggestive of [[erotica

Detail showing the jewelled choker given to [[Maria Altmann

File:Adele Bloch-Bauer (detail of motifs).jpg

Exposition Internationale des Arts et Techniques dans la Vie Moderne

File:Klimt - Bildnis Fritza Riedler - 1906.jpeg

Category:Paintings in the Neue Galerie New York

File:Adele Bloch-Bauer (detail of face).jpg

Klimt's ''Schloss Kammer am Attersee III'' (1910), which was swapped for the ''Portrait of Adele Bloch-Bauer I''


Portrait of Adele Bloch-Bauer I

Prompt: In Portrait of Adele Bloch-Bauer I, how is the abstract discussed?

Portrait of Adele Bloch-Bauer I (also called The Lady in Gold or The Woman in Gold) 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 Lauder to place the work in the Neue Galerie, the public New York–based gallery he co-founded.

United States District Court for the Central District of California

Gustav Klimt#Golden phase and critical success

''Portrait of Fritza Riedler'' (1906), exhibited and criticised alongside the ''Portrait of Adele Bloch-Bauer'' in 1907

Public poster concerning the departure of the painting from Austria

The decorative motifs: symbols suggestive of [[erotica

Detail showing the jewelled choker given to [[Maria Altmann

File:Adele Bloch-Bauer (detail of motifs).jpg

Exposition Internationale des Arts et Techniques dans la Vie Moderne

File:Klimt - Bildnis Fritza Riedler - 1906.jpeg

Category:Paintings in the Neue Galerie New York

File:Adele Bloch-Bauer (detail of face).jpg

Klimt's ''Schloss Kammer am Attersee III'' (1910), which was swapped for the ''Portrait of Adele Bloch-Bauer I''


Portrait of Adele Bloch-Bauer I

Prompt: In the context of Portrait of Adele Bloch-Bauer I, explain the Gustav Klimt and the Background.

Gustav Klimt was born in 1862 in Baumgarten, near Vienna in Austria-Hungary. He attended the Vienna School of Arts and Crafts (German: Kunstgewerbeschule Wien) 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 Burgtheater, the Kunsthistorisches Museum and the ceiling of the Great Hall at the University of Vienna.Klimt worked in Vienna during the Belle Époque, 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 Künstlerhaus. 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 enfant terrible 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. 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 (1898). 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.

United States District Court for the Central District of California

Gustav Klimt#Golden phase and critical success

''Portrait of Fritza Riedler'' (1906), exhibited and criticised alongside the ''Portrait of Adele Bloch-Bauer'' in 1907

Public poster concerning the departure of the painting from Austria

The decorative motifs: symbols suggestive of [[erotica

Detail showing the jewelled choker given to [[Maria Altmann

File:Adele Bloch-Bauer (detail of motifs).jpg

Exposition Internationale des Arts et Techniques dans la Vie Moderne

File:Klimt - Bildnis Fritza Riedler - 1906.jpeg

Category:Paintings in the Neue Galerie New York

File:Adele Bloch-Bauer (detail of face).jpg

Klimt's ''Schloss Kammer am Attersee III'' (1910), which was swapped for the ''Portrait of Adele Bloch-Bauer I''


Portrait of Adele Bloch-Bauer I

Prompt: Explain the Gustav Klimt about the Background of this artwork, Portrait of 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 (German: Kunstgewerbeschule Wien) 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 Burgtheater, the Kunsthistorisches Museum and the ceiling of the Great Hall at the University of Vienna.Klimt worked in Vienna during the Belle Époque, 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 Künstlerhaus. 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 enfant terrible 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. 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 (1898). 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.

United States District Court for the Central District of California

Gustav Klimt#Golden phase and critical success

''Portrait of Fritza Riedler'' (1906), exhibited and criticised alongside the ''Portrait of Adele Bloch-Bauer'' in 1907

Public poster concerning the departure of the painting from Austria

The decorative motifs: symbols suggestive of [[erotica

Detail showing the jewelled choker given to [[Maria Altmann

File:Adele Bloch-Bauer (detail of motifs).jpg

Exposition Internationale des Arts et Techniques dans la Vie Moderne

File:Klimt - Bildnis Fritza Riedler - 1906.jpeg

Category:Paintings in the Neue Galerie New York

File:Adele Bloch-Bauer (detail of face).jpg

Klimt's ''Schloss Kammer am Attersee III'' (1910), which was swapped for the ''Portrait of Adele Bloch-Bauer I''


Portrait of Adele Bloch-Bauer I

Prompt: In Portrait of Adele Bloch-Bauer I, how is the Gustav Klimt of the Background explained?

Gustav Klimt was born in 1862 in Baumgarten, near Vienna in Austria-Hungary. He attended the Vienna School of Arts and Crafts (German: Kunstgewerbeschule Wien) 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 Burgtheater, the Kunsthistorisches Museum and the ceiling of the Great Hall at the University of Vienna.Klimt worked in Vienna during the Belle Époque, 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 Künstlerhaus. 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 enfant terrible 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. 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 (1898). 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.

United States District Court for the Central District of California

Gustav Klimt#Golden phase and critical success

''Portrait of Fritza Riedler'' (1906), exhibited and criticised alongside the ''Portrait of Adele Bloch-Bauer'' in 1907

Public poster concerning the departure of the painting from Austria

The decorative motifs: symbols suggestive of [[erotica

Detail showing the jewelled choker given to [[Maria Altmann

File:Adele Bloch-Bauer (detail of motifs).jpg

Exposition Internationale des Arts et Techniques dans la Vie Moderne

File:Klimt - Bildnis Fritza Riedler - 1906.jpeg

Category:Paintings in the Neue Galerie New York

File:Adele Bloch-Bauer (detail of face).jpg

Klimt's ''Schloss Kammer am Attersee III'' (1910), which was swapped for the ''Portrait of Adele Bloch-Bauer I''


Portrait of Adele Bloch-Bauer I

Prompt: Describe the characteristics of the Gustav Klimt in Portrait of Adele Bloch-Bauer I's Background.

Gustav Klimt was born in 1862 in Baumgarten, near Vienna in Austria-Hungary. He attended the Vienna School of Arts and Crafts (German: Kunstgewerbeschule Wien) 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 Burgtheater, the Kunsthistorisches Museum and the ceiling of the Great Hall at the University of Vienna.Klimt worked in Vienna during the Belle Époque, 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 Künstlerhaus. 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 enfant terrible 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. 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 (1898). 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.

United States District Court for the Central District of California

Gustav Klimt#Golden phase and critical success

''Portrait of Fritza Riedler'' (1906), exhibited and criticised alongside the ''Portrait of Adele Bloch-Bauer'' in 1907

Public poster concerning the departure of the painting from Austria

The decorative motifs: symbols suggestive of [[erotica

Detail showing the jewelled choker given to [[Maria Altmann

File:Adele Bloch-Bauer (detail of motifs).jpg

Exposition Internationale des Arts et Techniques dans la Vie Moderne

File:Klimt - Bildnis Fritza Riedler - 1906.jpeg

Category:Paintings in the Neue Galerie New York

File:Adele Bloch-Bauer (detail of face).jpg

Klimt's ''Schloss Kammer am Attersee III'' (1910), which was swapped for the ''Portrait of Adele Bloch-Bauer I''


Portrait of Adele Bloch-Bauer I

Prompt: In the context of Portrait of Adele Bloch-Bauer I, explain the Ferdinand and Adele Bloch-Bauer and the Background.

Adele Bauer 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.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 (Beech Forest).

United States District Court for the Central District of California

Gustav Klimt#Golden phase and critical success

''Portrait of Fritza Riedler'' (1906), exhibited and criticised alongside the ''Portrait of Adele Bloch-Bauer'' in 1907

Public poster concerning the departure of the painting from Austria

The decorative motifs: symbols suggestive of [[erotica

Detail showing the jewelled choker given to [[Maria Altmann

File:Adele Bloch-Bauer (detail of motifs).jpg

Exposition Internationale des Arts et Techniques dans la Vie Moderne

File:Klimt - Bildnis Fritza Riedler - 1906.jpeg

Category:Paintings in the Neue Galerie New York

File:Adele Bloch-Bauer (detail of face).jpg

Klimt's ''Schloss Kammer am Attersee III'' (1910), which was swapped for the ''Portrait of Adele Bloch-Bauer I''


Portrait of Adele Bloch-Bauer I

Prompt: Explain the Ferdinand and Adele Bloch-Bauer about the Background of this artwork, Portrait of Adele Bloch-Bauer I.

Adele Bauer 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.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 (Beech Forest).

United States District Court for the Central District of California

Gustav Klimt#Golden phase and critical success

''Portrait of Fritza Riedler'' (1906), exhibited and criticised alongside the ''Portrait of Adele Bloch-Bauer'' in 1907

Public poster concerning the departure of the painting from Austria

The decorative motifs: symbols suggestive of [[erotica

Detail showing the jewelled choker given to [[Maria Altmann

File:Adele Bloch-Bauer (detail of motifs).jpg

Exposition Internationale des Arts et Techniques dans la Vie Moderne

File:Klimt - Bildnis Fritza Riedler - 1906.jpeg

Category:Paintings in the Neue Galerie New York

File:Adele Bloch-Bauer (detail of face).jpg

Klimt's ''Schloss Kammer am Attersee III'' (1910), which was swapped for the ''Portrait of Adele Bloch-Bauer I''


Portrait of Adele Bloch-Bauer I

Prompt: In Portrait of Adele Bloch-Bauer I, how is the Ferdinand and Adele Bloch-Bauer of the Background explained?

Adele Bauer 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.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 (Beech Forest).

United States District Court for the Central District of California

Gustav Klimt#Golden phase and critical success

''Portrait of Fritza Riedler'' (1906), exhibited and criticised alongside the ''Portrait of Adele Bloch-Bauer'' in 1907

Public poster concerning the departure of the painting from Austria

The decorative motifs: symbols suggestive of [[erotica

Detail showing the jewelled choker given to [[Maria Altmann

File:Adele Bloch-Bauer (detail of motifs).jpg

Exposition Internationale des Arts et Techniques dans la Vie Moderne

File:Klimt - Bildnis Fritza Riedler - 1906.jpeg

Category:Paintings in the Neue Galerie New York

File:Adele Bloch-Bauer (detail of face).jpg

Klimt's ''Schloss Kammer am Attersee III'' (1910), which was swapped for the ''Portrait of Adele Bloch-Bauer I''


Portrait of Adele Bloch-Bauer I

Prompt: Describe the characteristics of the Ferdinand and Adele Bloch-Bauer in Portrait of Adele Bloch-Bauer I's Background.

Adele Bauer 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.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 (Beech Forest).

United States District Court for the Central District of California

Gustav Klimt#Golden phase and critical success

''Portrait of Fritza Riedler'' (1906), exhibited and criticised alongside the ''Portrait of Adele Bloch-Bauer'' in 1907

Public poster concerning the departure of the painting from Austria

The decorative motifs: symbols suggestive of [[erotica

Detail showing the jewelled choker given to [[Maria Altmann

File:Adele Bloch-Bauer (detail of motifs).jpg

Exposition Internationale des Arts et Techniques dans la Vie Moderne

File:Klimt - Bildnis Fritza Riedler - 1906.jpeg

Category:Paintings in the Neue Galerie New York

File:Adele Bloch-Bauer (detail of face).jpg

Klimt's ''Schloss Kammer am Attersee III'' (1910), which was swapped for the ''Portrait of Adele Bloch-Bauer I''


Portrait of Adele Bloch-Bauer I

Prompt: In the context of Portrait of Adele Bloch-Bauer I, explain the Preparation and execution and the The painting.

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. 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.

United States District Court for the Central District of California

Gustav Klimt#Golden phase and critical success

''Portrait of Fritza Riedler'' (1906), exhibited and criticised alongside the ''Portrait of Adele Bloch-Bauer'' in 1907

Public poster concerning the departure of the painting from Austria

The decorative motifs: symbols suggestive of [[erotica

Detail showing the jewelled choker given to [[Maria Altmann

File:Adele Bloch-Bauer (detail of motifs).jpg

Exposition Internationale des Arts et Techniques dans la Vie Moderne

File:Klimt - Bildnis Fritza Riedler - 1906.jpeg

Category:Paintings in the Neue Galerie New York

File:Adele Bloch-Bauer (detail of face).jpg

Klimt's ''Schloss Kammer am Attersee III'' (1910), which was swapped for the ''Portrait of Adele Bloch-Bauer I''


Portrait of Adele Bloch-Bauer I

Prompt: Explain the Preparation and execution about the The painting of this artwork, Portrait of Adele Bloch-Bauer I.

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. 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.

United States District Court for the Central District of California

Gustav Klimt#Golden phase and critical success

''Portrait of Fritza Riedler'' (1906), exhibited and criticised alongside the ''Portrait of Adele Bloch-Bauer'' in 1907

Public poster concerning the departure of the painting from Austria

The decorative motifs: symbols suggestive of [[erotica

Detail showing the jewelled choker given to [[Maria Altmann

File:Adele Bloch-Bauer (detail of motifs).jpg

Exposition Internationale des Arts et Techniques dans la Vie Moderne

File:Klimt - Bildnis Fritza Riedler - 1906.jpeg

Category:Paintings in the Neue Galerie New York

File:Adele Bloch-Bauer (detail of face).jpg

Klimt's ''Schloss Kammer am Attersee III'' (1910), which was swapped for the ''Portrait of Adele Bloch-Bauer I''


Portrait of Adele Bloch-Bauer I

Prompt: In Portrait of Adele Bloch-Bauer I, how is the Preparation and execution of the The painting explained?

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. 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.

United States District Court for the Central District of California

Gustav Klimt#Golden phase and critical success

''Portrait of Fritza Riedler'' (1906), exhibited and criticised alongside the ''Portrait of Adele Bloch-Bauer'' in 1907

Public poster concerning the departure of the painting from Austria

The decorative motifs: symbols suggestive of [[erotica

Detail showing the jewelled choker given to [[Maria Altmann

File:Adele Bloch-Bauer (detail of motifs).jpg

Exposition Internationale des Arts et Techniques dans la Vie Moderne

File:Klimt - Bildnis Fritza Riedler - 1906.jpeg

Category:Paintings in the Neue Galerie New York

File:Adele Bloch-Bauer (detail of face).jpg

Klimt's ''Schloss Kammer am Attersee III'' (1910), which was swapped for the ''Portrait of Adele Bloch-Bauer I''


Portrait of Adele Bloch-Bauer I

Prompt: Describe the characteristics of the Preparation and execution in Portrait of Adele Bloch-Bauer I's The painting.

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. 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.

United States District Court for the Central District of California

Gustav Klimt#Golden phase and critical success

''Portrait of Fritza Riedler'' (1906), exhibited and criticised alongside the ''Portrait of Adele Bloch-Bauer'' in 1907

Public poster concerning the departure of the painting from Austria

The decorative motifs: symbols suggestive of [[erotica

Detail showing the jewelled choker given to [[Maria Altmann

File:Adele Bloch-Bauer (detail of motifs).jpg

Exposition Internationale des Arts et Techniques dans la Vie Moderne

File:Klimt - Bildnis Fritza Riedler - 1906.jpeg

Category:Paintings in the Neue Galerie New York

File:Adele Bloch-Bauer (detail of face).jpg

Klimt's ''Schloss Kammer am Attersee III'' (1910), which was swapped for the ''Portrait of Adele Bloch-Bauer I''


Portrait of Adele Bloch-Bauer I

Prompt: In the context of Portrait of Adele Bloch-Bauer I, explain the Description and the The painting.

The painting measures 138 by 138 cm (54 by 54 in); 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".

United States District Court for the Central District of California

Gustav Klimt#Golden phase and critical success

''Portrait of Fritza Riedler'' (1906), exhibited and criticised alongside the ''Portrait of Adele Bloch-Bauer'' in 1907

Public poster concerning the departure of the painting from Austria

The decorative motifs: symbols suggestive of [[erotica

Detail showing the jewelled choker given to [[Maria Altmann

File:Adele Bloch-Bauer (detail of motifs).jpg

Exposition Internationale des Arts et Techniques dans la Vie Moderne

File:Klimt - Bildnis Fritza Riedler - 1906.jpeg

Category:Paintings in the Neue Galerie New York

File:Adele Bloch-Bauer (detail of face).jpg

Klimt's ''Schloss Kammer am Attersee III'' (1910), which was swapped for the ''Portrait of Adele Bloch-Bauer I''


Portrait of Adele Bloch-Bauer I

Prompt: Explain the Description about the The painting of this artwork, Portrait of Adele Bloch-Bauer I.

The painting measures 138 by 138 cm (54 by 54 in); 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".

United States District Court for the Central District of California

Gustav Klimt#Golden phase and critical success

''Portrait of Fritza Riedler'' (1906), exhibited and criticised alongside the ''Portrait of Adele Bloch-Bauer'' in 1907

Public poster concerning the departure of the painting from Austria

The decorative motifs: symbols suggestive of [[erotica

Detail showing the jewelled choker given to [[Maria Altmann

File:Adele Bloch-Bauer (detail of motifs).jpg

Exposition Internationale des Arts et Techniques dans la Vie Moderne

File:Klimt - Bildnis Fritza Riedler - 1906.jpeg

Category:Paintings in the Neue Galerie New York

File:Adele Bloch-Bauer (detail of face).jpg

Klimt's ''Schloss Kammer am Attersee III'' (1910), which was swapped for the ''Portrait of Adele Bloch-Bauer I''


Portrait of Adele Bloch-Bauer I

Prompt: In Portrait of Adele Bloch-Bauer I, how is the Description of the The painting explained?

The painting measures 138 by 138 cm (54 by 54 in); 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".

United States District Court for the Central District of California

Gustav Klimt#Golden phase and critical success

''Portrait of Fritza Riedler'' (1906), exhibited and criticised alongside the ''Portrait of Adele Bloch-Bauer'' in 1907

Public poster concerning the departure of the painting from Austria

The decorative motifs: symbols suggestive of [[erotica

Detail showing the jewelled choker given to [[Maria Altmann

File:Adele Bloch-Bauer (detail of motifs).jpg

Exposition Internationale des Arts et Techniques dans la Vie Moderne

File:Klimt - Bildnis Fritza Riedler - 1906.jpeg

Category:Paintings in the Neue Galerie New York

File:Adele Bloch-Bauer (detail of face).jpg

Klimt's ''Schloss Kammer am Attersee III'' (1910), which was swapped for the ''Portrait of Adele Bloch-Bauer I''


Portrait of Adele Bloch-Bauer I

Prompt: Describe the characteristics of the Description in Portrait of Adele Bloch-Bauer I's The painting.

The painting measures 138 by 138 cm (54 by 54 in); 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".

United States District Court for the Central District of California

Gustav Klimt#Golden phase and critical success

''Portrait of Fritza Riedler'' (1906), exhibited and criticised alongside the ''Portrait of Adele Bloch-Bauer'' in 1907

Public poster concerning the departure of the painting from Austria

The decorative motifs: symbols suggestive of [[erotica

Detail showing the jewelled choker given to [[Maria Altmann

File:Adele Bloch-Bauer (detail of motifs).jpg

Exposition Internationale des Arts et Techniques dans la Vie Moderne

File:Klimt - Bildnis Fritza Riedler - 1906.jpeg

Category:Paintings in the Neue Galerie New York

File:Adele Bloch-Bauer (detail of face).jpg

Klimt's ''Schloss Kammer am Attersee III'' (1910), which was swapped for the ''Portrait of Adele Bloch-Bauer I''


Portrait of Adele Bloch-Bauer I

Prompt: Focus on Portrait of Adele Bloch-Bauer I and explain the Reception.

Klimt exhibited his portrait at the 1907 Mannheim International Art Show, alongside the Portrait of Fritza Riedler (1906). 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 Kunstschau 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 "mehr Blech als Bloch" ("more brass than Bloch"). 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".

United States District Court for the Central District of California

Gustav Klimt#Golden phase and critical success

''Portrait of Fritza Riedler'' (1906), exhibited and criticised alongside the ''Portrait of Adele Bloch-Bauer'' in 1907

Public poster concerning the departure of the painting from Austria

The decorative motifs: symbols suggestive of [[erotica

Detail showing the jewelled choker given to [[Maria Altmann

File:Adele Bloch-Bauer (detail of motifs).jpg

Exposition Internationale des Arts et Techniques dans la Vie Moderne

File:Klimt - Bildnis Fritza Riedler - 1906.jpeg

Category:Paintings in the Neue Galerie New York

File:Adele Bloch-Bauer (detail of face).jpg

Klimt's ''Schloss Kammer am Attersee III'' (1910), which was swapped for the ''Portrait of Adele Bloch-Bauer I''


Portrait of Adele Bloch-Bauer I

Prompt: Explain the Reception of this artwork, Portrait of Adele Bloch-Bauer I.

Klimt exhibited his portrait at the 1907 Mannheim International Art Show, alongside the Portrait of Fritza Riedler (1906). 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 Kunstschau 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 "mehr Blech als Bloch" ("more brass than Bloch"). 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".

United States District Court for the Central District of California

Gustav Klimt#Golden phase and critical success

''Portrait of Fritza Riedler'' (1906), exhibited and criticised alongside the ''Portrait of Adele Bloch-Bauer'' in 1907

Public poster concerning the departure of the painting from Austria

The decorative motifs: symbols suggestive of [[erotica

Detail showing the jewelled choker given to [[Maria Altmann

File:Adele Bloch-Bauer (detail of motifs).jpg

Exposition Internationale des Arts et Techniques dans la Vie Moderne

File:Klimt - Bildnis Fritza Riedler - 1906.jpeg

Category:Paintings in the Neue Galerie New York

File:Adele Bloch-Bauer (detail of face).jpg

Klimt's ''Schloss Kammer am Attersee III'' (1910), which was swapped for the ''Portrait of Adele Bloch-Bauer I''


Portrait of Adele Bloch-Bauer I

Prompt: How does Portrait of Adele Bloch-Bauer I explain its Reception?

Klimt exhibited his portrait at the 1907 Mannheim International Art Show, alongside the Portrait of Fritza Riedler (1906). 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 Kunstschau 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 "mehr Blech als Bloch" ("more brass than Bloch"). 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".

United States District Court for the Central District of California

Gustav Klimt#Golden phase and critical success

''Portrait of Fritza Riedler'' (1906), exhibited and criticised alongside the ''Portrait of Adele Bloch-Bauer'' in 1907

Public poster concerning the departure of the painting from Austria

The decorative motifs: symbols suggestive of [[erotica

Detail showing the jewelled choker given to [[Maria Altmann

File:Adele Bloch-Bauer (detail of motifs).jpg

Exposition Internationale des Arts et Techniques dans la Vie Moderne

File:Klimt - Bildnis Fritza Riedler - 1906.jpeg

Category:Paintings in the Neue Galerie New York

File:Adele Bloch-Bauer (detail of face).jpg

Klimt's ''Schloss Kammer am Attersee III'' (1910), which was swapped for the ''Portrait of Adele Bloch-Bauer I''


Portrait of Adele Bloch-Bauer I

Prompt: In Portrait of Adele Bloch-Bauer I, how is the Reception discussed?

Klimt exhibited his portrait at the 1907 Mannheim International Art Show, alongside the Portrait of Fritza Riedler (1906). 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 Kunstschau 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 "mehr Blech als Bloch" ("more brass than Bloch"). 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".

United States District Court for the Central District of California

Gustav Klimt#Golden phase and critical success

''Portrait of Fritza Riedler'' (1906), exhibited and criticised alongside the ''Portrait of Adele Bloch-Bauer'' in 1907

Public poster concerning the departure of the painting from Austria

The decorative motifs: symbols suggestive of [[erotica

Detail showing the jewelled choker given to [[Maria Altmann

File:Adele Bloch-Bauer (detail of motifs).jpg

Exposition Internationale des Arts et Techniques dans la Vie Moderne

File:Klimt - Bildnis Fritza Riedler - 1906.jpeg

Category:Paintings in the Neue Galerie New York

File:Adele Bloch-Bauer (detail of face).jpg

Klimt's ''Schloss Kammer am Attersee III'' (1910), which was swapped for the ''Portrait of Adele Bloch-Bauer I''


Portrait of Adele Bloch-Bauer I

Prompt: In the context of Portrait of Adele Bloch-Bauer I, explain the 1912–1945 and the History and ownership.

After exhibition at the Kunstschau, 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:Meine 2 Porträts und die 4 Landschaften von Gustav Klimt, bitte ich meinen Ehegatten nach seinem Tode der österr. Staats-Gallerie in Wien, die mir gehörende Wiener und Jungfer.(Translates from the German as: "I ask my husband after his death to leave my two portraits and the four landscapes by Gustav Klimt to the Austrian State Gallery in Vienna.")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 (1917–1918). 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 (annexation) 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 Deutsche Reichsbahn, 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 Führervorbehalt decree to obtain part of the collection at a reduced price. Several other Nazi leaders, including Hermann Göring, the Commander-in-Chief of the Luftwaffe, also obtained works from the collection. Göring also used the Führervorbehalt 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 Dame in Gold (translates as Lady in Gold).

United States District Court for the Central District of California

Gustav Klimt#Golden phase and critical success

''Portrait of Fritza Riedler'' (1906), exhibited and criticised alongside the ''Portrait of Adele Bloch-Bauer'' in 1907

Public poster concerning the departure of the painting from Austria

The decorative motifs: symbols suggestive of [[erotica

Detail showing the jewelled choker given to [[Maria Altmann

File:Adele Bloch-Bauer (detail of motifs).jpg

Exposition Internationale des Arts et Techniques dans la Vie Moderne

File:Klimt - Bildnis Fritza Riedler - 1906.jpeg

Category:Paintings in the Neue Galerie New York

File:Adele Bloch-Bauer (detail of face).jpg

Klimt's ''Schloss Kammer am Attersee III'' (1910), which was swapped for the ''Portrait of Adele Bloch-Bauer I''


Portrait of Adele Bloch-Bauer I

Prompt: Explain the 1912–1945 about the History and ownership of this artwork, Portrait of Adele Bloch-Bauer I.

After exhibition at the Kunstschau, 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:Meine 2 Porträts und die 4 Landschaften von Gustav Klimt, bitte ich meinen Ehegatten nach seinem Tode der österr. Staats-Gallerie in Wien, die mir gehörende Wiener und Jungfer.(Translates from the German as: "I ask my husband after his death to leave my two portraits and the four landscapes by Gustav Klimt to the Austrian State Gallery in Vienna.")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 (1917–1918). 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 (annexation) 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 Deutsche Reichsbahn, 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 Führervorbehalt decree to obtain part of the collection at a reduced price. Several other Nazi leaders, including Hermann Göring, the Commander-in-Chief of the Luftwaffe, also obtained works from the collection. Göring also used the Führervorbehalt 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 Dame in Gold (translates as Lady in Gold).

United States District Court for the Central District of California

Gustav Klimt#Golden phase and critical success

''Portrait of Fritza Riedler'' (1906), exhibited and criticised alongside the ''Portrait of Adele Bloch-Bauer'' in 1907

Public poster concerning the departure of the painting from Austria

The decorative motifs: symbols suggestive of [[erotica

Detail showing the jewelled choker given to [[Maria Altmann

File:Adele Bloch-Bauer (detail of motifs).jpg

Exposition Internationale des Arts et Techniques dans la Vie Moderne

File:Klimt - Bildnis Fritza Riedler - 1906.jpeg

Category:Paintings in the Neue Galerie New York

File:Adele Bloch-Bauer (detail of face).jpg

Klimt's ''Schloss Kammer am Attersee III'' (1910), which was swapped for the ''Portrait of Adele Bloch-Bauer I''


Portrait of Adele Bloch-Bauer I

Prompt: In Portrait of Adele Bloch-Bauer I, how is the 1912–1945 of the History and ownership explained?

After exhibition at the Kunstschau, 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:Meine 2 Porträts und die 4 Landschaften von Gustav Klimt, bitte ich meinen Ehegatten nach seinem Tode der österr. Staats-Gallerie in Wien, die mir gehörende Wiener und Jungfer.(Translates from the German as: "I ask my husband after his death to leave my two portraits and the four landscapes by Gustav Klimt to the Austrian State Gallery in Vienna.")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 (1917–1918). 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 (annexation) 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 Deutsche Reichsbahn, 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 Führervorbehalt decree to obtain part of the collection at a reduced price. Several other Nazi leaders, including Hermann Göring, the Commander-in-Chief of the Luftwaffe, also obtained works from the collection. Göring also used the Führervorbehalt 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 Dame in Gold (translates as Lady in Gold).

United States District Court for the Central District of California

Gustav Klimt#Golden phase and critical success

''Portrait of Fritza Riedler'' (1906), exhibited and criticised alongside the ''Portrait of Adele Bloch-Bauer'' in 1907

Public poster concerning the departure of the painting from Austria

The decorative motifs: symbols suggestive of [[erotica

Detail showing the jewelled choker given to [[Maria Altmann

File:Adele Bloch-Bauer (detail of motifs).jpg

Exposition Internationale des Arts et Techniques dans la Vie Moderne

File:Klimt - Bildnis Fritza Riedler - 1906.jpeg

Category:Paintings in the Neue Galerie New York

File:Adele Bloch-Bauer (detail of face).jpg

Klimt's ''Schloss Kammer am Attersee III'' (1910), which was swapped for the ''Portrait of Adele Bloch-Bauer I''