Jump to content

List of paintings by Gustav Klimt

From Wikipedia, the free encyclopedia

This is a list of paintings by Gustav Klimt (1862–1918). It is believed that Klimt painted over 200 paintings, of which over 160 are known.[1]

List of paintings by Gustav Klimt

[edit]

Early works

[edit]
Image Title Year Medium Location Notes
Klara Klimt[2] c. 1880 Oil on canvas, 30.3 cm × 21.3 cm Leopold Museum, Vienna Klara Klimt (1860 – 1937) was the oldest of Gustav’s six siblings and they shared an apartment with their sister Hermine until Gustav’s death in 1918. The painting shows Klara around the age of 20 and Klimt painted it while studying at the Vienna School of Arts and Crafts. It is exhibited on permanent loan from a Klimt descendant.[2]
Forest Floor[3] 1881/1882 Oil on canvas, 10 cm × 8 cm Leopold Museum, Vienna
Male Nude[4] 1883 Oil on canvas, 68 cm × 54.8 cm Österreichische Galerie Belvedere, Vienna
Sitting Nude Man Turned to the Left[5] 1883 Oil on canvas, 46 cm × 37 cm Leopold Museum, Vienna The painting was dated by Klimt himself, painted dating during his time as a student at the School of Arts and Crafts.[5]
Fable[6] 1883 Oil on canvas, 83.5 cm × 116 cm Vienna Museum, Vienna
Head Study of a Girl from Haná[7] c. 1883 Oil on wood, 28.6 cm × 22.7 cm Leopold Museum, Vienna This small painting is undated, however, it is presumed that it was created when Gustav Klimt was still a student.[7]
Idyll[8] 1884 Oil on canvas, 49.7 cm × 74 cm Vienna Museum, Vienna
Allegory of Sacred Music (Draft)[9] 1884 Oil on canvas, 38.5 cm × 50 cm Österreichische Galerie Belvedere, Vienna This painting was a preparatory draft for a ceiling painting for the city theatre in Rijeka, which was completed by the studio of Ernst and Gustav Klimt and Franz Matsch the following year.[9]
Design for a Curtain for the Karlovy Vary Municipal Theater[10] 1884/1885 Oil on canvas, 52.7 cm × 42.5 cm Österreichische Galerie Belvedere, Vienna[10] When Klimt and his two colleagues (Ernst Klimt and Franz von Matsch) received the commission to design the curtain for the Karlovy Vary Municipal Theater around 1884, they already had considerable experience in the field of theater design. Klimt's design for was directly inspired by similar curtain designs by Hans Makart.[10]
Auditorium in the Old Burgtheater[11] 1888–1889 Gouache on paper, 82 cm × 92 cm Vienna Museum, Vienna
Sappho[12] c. 1888 Oil on canvas, 39.4 cm × 31.7 cm Vienna Museum, Vienna Representation of the Greek lyric poet born on the island of Lesbos. Still in the sketch stage, this painting fuses the Pre-Raphaelites' influence with the literary and dreamy symbolism of Moreau. Built on orthogonal lines, the canvas is pervaded by an allegoric mythology already present in Klimt's Burgtheater work. The detailed descriptive traits are a consequence of the period's historicism style, celebrating beauty in an atmosphere of refined archaism.[13]

1890s

[edit]
Image Title Year Medium Location Notes
Portrait of Joseph Pembaur[14] 1890 Oil on canvas, 68.4 cm × 55.4 cm Tyrolean State Museum, Innsbruck A realistic portrait of pianist and piano teacher, Joseph Pembaur. The photographic realism of the face generates a subtle tension with the symbolism of the stylised elements. In this period, the stylistic dilemma tormenting Klimt between historicism and symbolism is here resolved by the mediation of archaic forms, which attribute to Music, as identified by the instruments, an absolute and eternal value.[13][15] Also known as Portrait of Joseph Pembauer.[16][17]
Portrait of Mathilde Trau[18] c. 1893 Oil on canvas, 79 cm × 58.5 cm Österreichische Galerie Belvedere, Vienna The painting depicts Mathilde Trau, the wife of Franz Trau, who ran a famous tea shop in Vienna. Klimt also painted a portrait of him. In terms of format and composition, this portrait is comparable to contemporary portrait photographs. The painting technique reflects a realism similar to the aesthetics of photography. However, beginning in the mid-1890s, Klimt's artistic approach shifted towards an impressionistically influenced and more atmospheric style.[18]
Portrait of a Woman by Gustav Klimt, completed 1893 or 1894
 Portrait of a Woman[19] 1893/1894 Oil on canvas, 168 cm × 84 cm Österreichische Galerie Belvedere, Vienna A realistic full-length portrait of a woman in a black dress and Klimt's first representative portrait of a woman.[19] The subject is Marie Breunig, a friend and client of fashion designer Emilie Flöge, Klimt's life companion.[19][20]
Portrait of an unknown woman[21] c. 1894 Oil on paperboard, 30 cm × 23 cm Vienna Museum, Vienna An inscription names the subject as Mrs. Heymann.[21]
Seated Young Girl[22] c. 1894 Oil on wood, 14.1 cm × 9.6 cm Leopold Museum, Vienna
Love[23] 1895 Oil on canvas, 62.5 cm × 46.5 cm Vienna Museum, Vienna For its evanescent rarefaction the love scene reveals its symbolist mould. The work is part of Klimt's series of Allegories and Emblems, whose intent was to translate life's most significant moments, and its psychological nuances, into forms of metaphorical intensity.
Music I[24] 1895 Oil on canvas, 37 cm × 44.5 cm Neue Pinakothek, Munich[25] Allegoric representation of Music, which Klimt painted several times in various renderings. Besides the lyre, symbol of music, this particular canvas emphasises the sphinx (alluding to artistic freedom), the Silenus mask on the extreme left, the lion's teeth at the centre (a metaphor of the spread of new ideas) and finally the woman's meditative face.
Josef Lewinsky as Carlos in Clavigo[26] 1895 Oil on canvas, 60 cm × 44 cm Österreichische Galerie Belvedere, Vienna Klimt depicts the court actor Josef Lewinsky on stage, as Carlos in Clavigo, a tragedy by Goethe. The painting was commissioned as an illustration for a book on the history of Viennese theater.[26]
Portrait of a Lady with a Purple Scarf[27] c. 1895 Oil on canvas, 67 cm × 41 cm Kunsthistorisches Museum, Vienna Also known as Portrait of a Lady with a Lilac Scarf. The painting was in a private collection for almost a century before being bequeathed to the Kunsthistorisches Museum in 2014.[28]
The Blind Man[29] c. 1896 Oil on canvas, 66 cm × 53 cm Leopold Museum, Vienna
Portrait of an Old Man in Profile (Count Traun?)[30] c. 1896 Oil on cardboard, 46 cm × 35.2 cm Leopold Museum, Vienna While the painting's title suggests that it was a portrait commission, the identity of the subject is not known. When Klimt died, the painting was still in his possession, making it unlikely that it was commissioned by a third party. Therefore it is probable that Klimt painted this work on his own interest.[30]
Prince William Nii Nortey Dowuona 1897 Oil on canvas, 65.5 cm x 54 cm) Privately owned The painting disappeared due to Nazi looting and reappeared in 2025. It had belonged to the couple Ernestine and Felix Kelin, who had fled to Monaco in 1938 for being Jews, leaving the painting at their residence in Vienna. The last time the painting had been seen in public was in 1928.
Medicine (Draft)[24] 1897–1898 Oil on canvas, 74.7 cm × 54.8 cm Israel Museum, Jerusalem[31]
Portrait of Sonja Knips[32] 1897/1898 Oil on canvas, 141.5 cm × 141.5 cm Österreichische Galerie Belvedere, Vienna The baroness Sonja Knips was one of Klimt's most prominent clients. In this painting, Klimt chose the square format for a portrait for the first time. This portrait helped him in becoming one of the most sought-after portraitists in Viennese society at the time.[32] With a style reminding of the Belgian artist Fernand Khnopff, Klimt paints Knips, who was active with her husband in the circle of the Wiener Werkstätte. The face's plasticity contrasts with the soft inconsistency of the fluffy dress. In this diagonal composition, the evanescence of the chair, the book's red blur, the head surrounded by flowers, all anticipate the portraits of the golden period.[citation needed]
Lady by the Fireplace[33] 1897/1898 Oil on canvas, 41 cm × 66 cm Österreichische Galerie Belvedere, Vienna
Portrait of Helene Klimt[34] 1898 Oil on carboard, 60 cm × 40 cm Privately owned[35][34] Depicting Klimt's six-year-old niece, whom Klimt helped look after following the death of his brother Ernst in 1892. Klimt became her legal guardian.[20][34]
Pallas Athena[36] 1898 Oil on canvas, 75 cm × 75 cm Vienna Museum, Vienna Enhanced by the golden frame created by Klimt's brother, Georg, the goddess Athena is portrayed in front of a frieze borrowed from a black-figure Attic vase of the 6th century BC. The red hair comes out of the helmet so as to underscore the goddess' femininity, notwithstanding her armour. Following the example of the Munich Secession, Athena is chosen as the patron numen of the Vienna Secession.[13]
Moving Water[24] 1898 Oil on canvas, 52 cm × 65 cm Privately owned
Full-Face Head of a Girl[24] 1898 Oil on canvas, 38 cm × 43 cm Privately owned
Orchard in the Evening[37] 1898 Oil on canvas, 69 cm × 55.6 cm Leopold Museum, Vienna Exhibited on permanent loan from a private Austrian collection.[37]
After the Rain[38] 1898 Oil on canvas, 80 cm × 40 cm Österreichische Galerie Belvedere, Vienna In August 1898, Klimt spent his first summer in the Salzkammergut, staying in St. Agatha near Lake Hallstatt with the Flöge family. There, he painted four landscapes, including After the Rain. These works already show the influence of French Impressionism through soft, fleeting brushwork, as well as inspiration from Japanese woodcuts. After the Rain became Klimt’s first work to enter a public collection in 1900.[38] The oblong format and the particular photographic style affirm their Japanese derivation. The rainy mist enveloping the whole, as well as the ornamental interpretation of every element, recall Whistler's evanescent landscapes.[39] Also titled Garden with chickens in St Agatha.[40]
Full-Face Portrait of a Lady[24] c. 1898–1899 Oil on cardboard, 45 cm × 34 cm Privately owned[41]
Schubert at the Piano[24] 1899 Oil on canvas, 150 cm × 200 cm Destroyed by fire in 1945 Critic and writer Hermann Bahr (1863–1934) wrote: " Klimt's Schubert is the finest painting ever done by an Austrian". The painting was destroyed by retreating German forces in 1945.[42]
Serena Pulitzer Lederer[43] 1899 Oil on canvas, 190.8 cm × 85.4 cm Metropolitan Museum of Art, New York
Nuda Veritas[24] 1899 Oil on canvas, 252 cm × 56.2 cm Austrian Theatre Museum, Vienna[44] The frame's upper margin quotes a verse by Schiller, indicating, in its difficult consensus, a distinctive sign of quality: "If you can't please everyone with your deeds and your art – please only a few. To please many is bad. Schiller." Aim of this quote is to incite the Vienna Secession to action. Another version of this work exists as an etching for the magazine Ver Sacrum. The mirror held by Veritas is a modern invitation to "Know yourself", whereas the flowers are symbols of regeneration.[13]
A Morning by the Pond[45] 1899 Oil on canvas, 75.2 cm × 75.2 cm Leopold Museum, Vienna Klimt's first square landscape it was painted in Eglsee during a summer with the Flöge family in Golling.[45] Also known as Still Pond or Reflection, the painting’s style is reminiscent of Monet’s atmospheric landscapes.[46]
Water Nymphs[24] c. 1899 Oil on canvas, 82 cm × 52 cm Bank Austria Kunstforum Wien [de], Vienna Names for the painting include Water Nymphs, Silver Fish, and Mermaids. It portrays two submerged figures devoid of bodies or limbs, instead composed of heads and long, black hair. This unconventional depiction challenges typical mermaid imagery with a disturbing variation and takes hair fetishism to its extreme, producing sex objects with no limbs, bodies or even sex organs. Their simple form is open to a range of interpretations: from severed heads in mythology to cherubic figures or the serpent of Eden. Klimt combines a range of archetypal themes and delievers a sensation of unease.[47]

1900s

[edit]
Image Title Year Medium Location Notes
Old Man on His Deathbed[48] 1900 Oil on cardboard, 30.4 cm × 44.8 cm Österreichische Galerie Belvedere, Vienna Klimt often depicted the dead in his work although they were rarely publicly exhibited due to their personal nature. While such subjects are usually identifiable, the identity of the old man in this portrait is unknown. Klimt often painted shortly after a subject’s death, sometimes on the same day, suggesting the man may have died in 1900. The painting was likely cropped, so today only part of the original composition remains.[48]
1900 painting by Gustav Klimt
1900 painting by Gustav Klimt
 The Black Bull[49] 1900 Oil on canvas, 82 cm × 82 cm Leopold Museum, Vienna
The Large Poplar I[50] 1900 Oil on canvas, 81.3 cm × 80.3 cm Neue Galerie, New York
On Lake Attersee[51] 1900 Oil on canvas, 80.2 cm × 80.2 cm Leopold Museum, Vienna Contemporary critics praised the painting at the 10th Secession Exhibition in 1901.[51] It was painted from the jetty of a small boathouse by the Flöge residence during his first stay on the Attersee in the summer of 1900.[52][51]
Farmhouse with Birch Trees[53] 1900 Oil on canvas, 80.3 cm × 80.3 cm Privately owned
Judith I[54] 1901 Oil and gold leaf on canvas, 84 cm × 42 cm Österreichische Galerie Belvedere, Vienna The painting depicts the biblical character of Judith holding the severed head of Holofernes. Judith's face exudes a mixed charge of voluptuousness and perversion. Its traits are transfigured so as to obtain the greatest degree of intensity and seduction, which Klimt achieves by placing the woman on an unattainable plane. Notwithstanding the alteration of features, one can recognise Klimt's friend and maybe lover Adele Bloch-Bauer, the subject of another two portraits respectively done in 1907 and 1912, and also painted in the Pallas Athena.[55] The slightly lifted head has a sense of pride, whereas her visage is languid and sensual, with parted lips in between defiance and seduction. The contrast between the black hair and the golden luminosity of the background enhance elegance and exaltation. The fashionable hairdo is emphasized by the stylised motifs of the trees fanning on the sides.[13]
Fir Forest I[56] 1901 Oil on canvas, 90.5 cm × 90 cm Zug Art Museum [de], Zug, Switzerland
Goldfish[24] 1901–1902 Oil on canvas, 181 cm × 66.5 cm Kunstmuseum Solothurn, Solothurn[57] Klimt initially thought to title the painting To my critics in response to criticism received for his Faculty Paintings at the University of Vienna.[58] The canvas has a symbolic intention and is dominated by the bare back, reminiscent of Rodin.
Beech Forest 1902 Oil on canvas, 100 cm × 100 cm The series of Klimt's beech forests corresponds to the one with lakes, created during the same period. repeated are the high horizon, the squarish format, the close-up perspective. The rhythmic disposition of trees, rather than creating optical confusion, plays on the colours' vividness and the trunks' slenderness, so that the viewer is immersed in the scenery.
Portrait of Emilie Flöge[59] 1902 Oil on canvas, 178 cm × 80 cm Vienna Museum, Vienna
Portrait of Gertrud Loew[60] 1902 Oil on canvas, 149.5 cm × 45 cm Privately owned[61] The painting has also been called Gertha Felsöványi.[24]
The Large Poplar II[62] 1902/1903 Oil on canvas, 100.8 cm × 100.8 cm Leopold Museum, Vienna Also known as Gathering Storm.[62]
Hope I[63] 1903 Oil on canvas, 189.2 cm × 67 cm National Gallery of Canada, Ottawa The unusual subject and its formal rendition created critical perplexity, so much so that, in order for Klimt to exhibit this work, he had to give it a religious interpretation. The pregnancy theme had already been present in one of the artist's figures in Medicine and the Beethoven Frieze. In 1907–08 Klimt will paint a second version, Hope II, this time with the pregnant woman wearing a highly stylised and geometric dress.
The Golden Knight[64] 1903 Oil on canvas, 100 cm × 100 cm Privately owned Also known as Life is a Struggle.[64]
Pale Face[65] 1903 Oil on canvas, 80 cm × 40 cm Neue Galerie, New York
Portrait of Hermine Gallia[66] 1904
Oil on canvas, 170.5 cm × 96.5 cm
 National Gallery, London The only painting by Klimt in a British public collection.[66]
Water Serpents I[67] 1904–1907 Mixed media on parchment, 50 cm x 20 cm Österreichische Galerie Belvedere, Vienna The painting combines various techniques, including watercolour with gold, silver, platinum, and brass on parchment. It was primarily painted in 1904 with minor additions in 1907.[67] The painting is also known as Water Snakes I, Friends and The Hydra.[68][24] The composition showed stretched slender figures typical of the Jugendstil, which displayed an abstract illustration of a long-haired woman embracing a serpent-like figure.
Water Serpents II[24] 1904–1907 Oil on canvas, 80 cm × 145 cm Privately owned[69] Also known as Water Snakes II.[24]
The Three Ages of Woman[24] 1905 Oil on canvas, 180 cm × 180 cm Galleria Nazionale d'Arte Moderna, Rome[70] This painting won the Prize at the Esposizione d'Arte Internazionale of Rome in 1911 and the following year was purchased by the Roman Galleria Nazionale d'Arte Moderna. The canvas mixes a geometrising decorativism and an unexpected psychological introspection in the expressions of the three figures: the dramatic premonition of death in old age, the tender protectiveness of the young woman, and the contented sleep of the child.
Margaret Stonborough-Wittgenstein[24] 1905 Oil on canvas, 180 cm × 90 cm Neue Pinakothek, Munich[71]
Tree of Life 1905–1909 Carton/panel, 138.8 cm × 102 cm Museum of Applied Arts, Vienna Central panel for the mural at the Palais Stoclet in Brussels. The interior of this building was decorated with marble paneling and artworks,[72] and included the mosaic friezes[73] by Klimt and the murals by Ludwig Heinrich Jungnickel.[74] This integration of architects, artists, and artisans made Stoclet Palace an example of Gesamtkunstwerk, one of the defining characteristics of Jugendstil. The sketches of Klimt's work for the dining room can be found in the permanent collection of Museum für angewandte Kunst (MAK) in Vienna. The panel shows different influences, converging together: from the Byzantine mosaic art to the Japanese prints. But especially dominant is the Egyptian culture, in the posture of the figures and the iteration of the decorative motifs.

Left panel

Right panel

Centre panel (working drawing)

Stoclet Frieze[75] 1905–1911 Mosaic frieze Stoclet Palace, Brussels, Belgium Klimt's years of work on this commission produced 9 working drawings at 1:1 scale (below) which were then realised as the final mosaics.[76] The tree of life is the frieze's main motif. The Stoclet Frieze was the last of Klimt's mural works.[77] Today it is still owned by the Stoclet family.[78]
Portrait of Fritza Riedler[79] 1906 Oil on canvas, 153 cm × 133 cm Österreichische Galerie Belvedere, Vienna The painting depicts Fritza Riedler, the wife of a wealthy mechanical engineer. The delicate features of her pale face contrast strikingly with her dark hair. She exhibits not the slightest expression nor movement. Klimt combines a lifelike depiction of the model with an ornamental dissolution of the surroundings, rather than a realistic space. Even the armchair becomes part of this design, made up of flowing lines and eye motifs inspired by ancient Egyptian art. This is characteristic of Klimt's work at this time.[79] Portrait of Fritza Riedler is one of the most exhibited of Klimt's portraits.[citation needed]
Farm Garden with Sunflowers[80] 1906 Oil on canvas, 110 cm × 110 cm Österreichische Galerie Belvedere, Vienna
Portrait of Adele Bloch-Bauer I[81] 1907 Oil, gold and silver on canvas, 140 cm × 140 cm Neue Galerie, New York 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.
Blooming Poppies[82] 1907 Oil on canvas, 110 cm × 110 cm Österreichische Galerie Belvedere, Vienna Klimt painted this work in the area around Lake Attersee in Upper Austria, where he spent his summer holidays every year from 1900 onwards.[82] Also known as Poppy Field.[83]
The Kiss[84] 1907–1908 Oil and gold leaf on canvas, 180 cm × 180 cm Österreichische Galerie Belvedere, Vienna A perfect square, the canvas depicts a couple embracing, their bodies entwined in elaborate robes decorated in a style influenced by both linear constructs of the contemporary Art Nouveau style and the organic forms of the earlier Arts and Crafts Movement. The work is composed of conventional oil paint with applied layers of gold leaf, an aspect that gives it its strikingly modern, yet evocative appearance. The Kiss is widely considered a masterpiece of the early modern period. It is a symbol of Vienna Jugendstil—Viennese Art Nouveau—and is considered Klimt's most popular work.[85]
Hope II[86] 1907–1908 Oil, gold, and platinum on canvas, 110.5 cm × 110.5 cm Museum of Modern Art, New York
Danaë[24] 1907–1908 Oil on canvas, 77 cm x 83 cm Privately owned Representation of the mythological daughter of King Acrisius of Argos and his wife Queen Eurydice. Danaë was a popular subject in the early 1900s for many artists; she was used as the quintessential symbol of divine love, and transcendence. While imprisoned by her father, King of Argos, in a tower of bronze, Danaë was visited by Zeus, symbolized here as the golden rain flowing between her legs. It is apparent from the subject's face and hands that she is aroused by the golden stream. In this work, she is curled in a sumptuous royal purple veil which refers to her imperial lineage.[a] Many early portrayals of Danaë were erotic; other paintings completed in similar style are Klimt's Medicine (1900– 1907), and Water Snakes (1904–1907).[87]
Sunflower[88] 1907/1908 Oil and gold leaf on canvas, 110 cm × 110 cm Österreichische Galerie Belvedere, Vienna Klimt's Sunflower has repeatedly been interpreted as a humanoid figure. The famous art critic of the Vienna Secession, Ludwig Hevesi, saw it as a "fairy in love." Others even considered this painting a hidden portrait of the designer Emilie Flöge.[88]
9 working drawings for Stoclet Frieze[76] 1908-1911 Mixed media on paper Museum of Applied Arts, Vienna Including Expectation (Dancer), The Tree of Life, and Fulfillment.[76]
Lady With Hat and Feather Boa[24] 1909 Oil on canvas, 69 cm × 55 cm Privately owned[89]
Park at Kammer Castle[90] 1909 Oil on canvas, 110 cm × 110 cm Neue Galerie, New York
Judith II[91] 1909 Oil on canvas, 176 cm × 46 cm Ca' Pesaro, Venice
The Park[92] 1909–1910[93] Oil on canvas, 110.5 cm × 110.5 cm Museum of Modern Art, New York One of Klimt's paintings closer to abstraction, but not quite embracing it in full. The multiplicity of colours and reedy forms of vegetation infuse a sense of vivaciousness that connects with Nature's life cycle. The focus is a close-up subject, as often occurs in Klimt's landscapes, whereas the execution is reminiscent of exquisite mosaics.[13]
Mother with Two Children (Family)[94] 1909/1910 Oil on canvas, 90 cm × 90 cm Österreichische Galerie Belvedere, Vienna
Schloss Kammer on the Attersee III[95] 1909/1910 Oil on canvas, 110 cm × 110 cm Österreichische Galerie Belvedere, Vienna This painting shows the lake-facing façade of Kammer Castle. Klimt likely captured this view on canvas from the opposite shore using a telescope.[95]

1910s

[edit]
Image Title Year Medium Location Notes
The Black Feathered Hat[24] 1910 Oil on canvas, 79 cm × 63 cm Privately owned[96] Also known as Lady with Feather Hat,[96] the red hair and the disproportionate hat were already present in Klimt's Lady with Hat and Feather Boa (1909). The unfinished style, unusual for the Austrian artist, seems to recall that of Henri de Toulouse-Lautrec, whose work was seen by Klimt in Paris the previous year: this is echoed by the synthesis of the image, lacking any decorative support, and its low tones.[13]
Death and Life[97] 1910/1915 Oil on canvas, 180.8 cm × 200.6 cm[98] Leopold Museum, Vienna First painted in 1910, Klimt decided to fundamentally revise the work in 1915.[97] Also known as Death and Love.[98] The marked rupture cutting this composition in two parts represents several symbolic motifs: the disquieting and dark image of Death looms over the entangled group of the human bodies, where colour retrieves its decorative vividness. The ascending structure narrates life's salient motifs: from friendship to love, to maternity. The man's brawny physique will inspire Egon Schiele's nudes.[99]
Upper Austrian Farmhouse[100] 1911 Oil on canvas, 110 cm × 110 cm Österreichische Galerie Belvedere, Vienna The influence of both van Gogh and Toulouse-Lautrec can be seen in this painting through his brushwork and contrasting of textures.[101]
Avenue to Kammer Palace[102] 1912 Oil on canvas, 110 cm × 110 cm Österreichische Galerie Belvedere, Vienna
Portrait of Adele Bloch-Bauer II[24] 1912 Oil on canvas, 190 cm × 120 cm Privately owned[103]
Mäda Primavesi[104] 1912–1913 Oil on canvas, 149.9 cm × 110.5 cm Metropolitan Museum of Art, New York
The Maiden[105] 1913 Oil on canvas, 190 cm × 200 cm National Gallery, Prague The paiting is also known as Virgin or The Virgin.[24][106] To his usual depiction of aristocracy, Klimt now substitutes erotic allegories, as for Death and Life. Here the entanglement of women has lost any realism, as is apparent in the almost skeletal nude on the left, and thus it is absorbed in the decorative scheme. The association of beauty with such unnatural poses, indicates an allusion to life's ephemerality, a reflection of modern society.
Italian Garden Landscape[107] 1913 Oil on canvas, 110 cm × 110 cm Zug Art Museum, Zug, Switzerland
Forester's Lodge in Weißenbach I[108] 1914 Oil on canvas, 110 cm × 110 cm Österreichische Galerie Belvedere, Vienna
Litzlbergkeller[109] 1915/1916 Oil on canvas, 110 cm × 110 cm Leopold Museum, Vienna Close-up view of the restaurant “Litzlberger Keller”. The painting was commissioned by Otto Primavesi [de].[109]
Portrait of Elisabeth Lederer[110] 1916 Oil on canvas, 180 cm × 126 cm Privately owned Klimt began painting this work in 1914,[110] also known by the title Elisabeth Bachofen-Echt.[24] An oriental note dominates in the figurines framing the Baroness. To the pyramidal structure of the subject is accompanied an abstract and serrated syntax, typical of Klimt's last output. Having concluded his "golden phase" since 1909, and overcome the subsequent crisis, the artist rejects Greek or Egyptian modules and concentrates on a joyful chromatic vibrancy, close to Matisse.[13]
Portrait of Friederike Maria Beer[111] 1916 Oil on canvas, 168 cm × 130 cm Tel Aviv Museum of Art, Tel Aviv This woman, daughter of the Kaiserbar's owner, was also portrayed Egon Schiele.[citation needed] Klimt portrays her in a dress made by the Wiener Werkstätte.[112] In order to emphasize its pompous style, he replicates the oriental elements of the Baroness Elisabeth Lederer, taken from a Korean vase of hers. The three colours at top right – red, white, and black – allude to the Austrian flag and the outbreak of World War I.[citation needed]
Garden landscape with mountain top (parish garden)[113] 1916 Oil on canvas, 110 cm × 110 cm Zug Art Museum, Zug, Switzerland
Women Friends[24] 1916–1917 Oil on canvas, 99 cm × 99 cm (?) Destroyed by fire in 1945 The painting was destroyed by retreating German forces in 1945. Only studies and photographs remain.[114]
Portrait of a Lady 1916–1917 Oil on canvas, 60 cm × 55 cm Galleria d'arte moderna Ricci Oddi, Piacenza Rendered in a brisk and vivacious style, the portrait is pervaded by a serene spirit, unusual for Klimt. Here he alters the face's realism with bright colour daubes, thus reaching an expressionist style, especially close to Jawlensky's images. However, to the lumpy and violent deformation of his colleagues' brush, Klimt opposes his usual ornamental finery.
Adam and Eve[115] 1916–1918 Oil on canvas, 173 cm × 60 cm Österreichische Galerie Belvedere Unfinished painting. Eve is the main figure in the painting, with Adam in the background serving to contrast with her milky white skin.[116] It takes a symbolic significance for its biblical subject as well as Eve's facial rendering, with her reclined head and a sweet yet enigmatic smile. The lower section, with its flowers and background decorativism, is typical of Klimt; the upper section, where the figures are contraposed to a monochrome backdrop, reveals a synthesis of strained lines closer to Schiele's style.[13]
Johanna Staude[117] 1917/1918 Oil on canvas, 70 cm × 50 cm Österreichische Galerie Belvedere Unfinished.[118] Another portrait, where Klimt concentrates on the body upper half, with an arlequin blue motif of leaves in the dress.
Lady with a Fan[119] 1917/1918 Oil on canvas, 100 cm × 100 cm Privately owned One of Klimt's last finished works.[120]
Lady in White[121] 1917/1918 Oil on canvas, 70 cm × 70 cm Österreichische Galerie Belvedere
The Bride[122] 1917/1918 Oil on canvas, 165 cm × 191 cm Österreichische Galerie Belvedere When Klimt died, this painting was left unfinished and leaning against the easel in his studio. It shows clearly Klimt's working method with preliminary sketches still visible, while in other places motifs are already fully developed.[122]
Amalie Zuckerkandl[123] 1917/18 (possibly begun as early as 1913/14) Oil on canvas, 128 cm × 128 cm Österreichische Galerie Belvedere Unfinished.[123]
Posthumous Portrait of Ria Munk III[124] 1917/1918 Oil on canvas, 178.1 cm × 89.9 cm Privately owned[125] Unfinished.[124]

Notes

[edit]
  1. ^ Sometime after her celestial visitation Danaë gave birth to a son, Perseus, who is cited later in Greek mythology for slaying the Gorgon Medusa and rescuing Andromeda.

References

[edit]
  1. ^ Article, Katie White ShareShare This (1 October 2024). "The Surprising Backstory Behind Gustav Klimt's Obsession With Gold". Artnet News. Retrieved 9 May 2025.
  2. ^ a b "Klara Klimt". Leopold Museum Online Collection. Leopold Museum. Retrieved 16 June 2025.
  3. ^ "Forest Floor". Leopold Museum Online Collection. Leopold Museum. 2022. Retrieved 16 June 2025.
  4. ^ "Männlicher Akt". sammlung.belvedere.at (in German). Retrieved 5 May 2025.
  5. ^ a b "Sitting Nude Man Turned to the Left". Leopold Museum Online Collection. Leopold Museum. Retrieved 16 June 2025.
  6. ^ ""Fabel" (Vorlage zu: Gerlach & Schenk, Allegorien und Embleme, Nr. 75a)". Wien Museum Online Sammlung. Retrieved 10 May 2025.
  7. ^ a b "Head Study of a Girl from Haná". Leopold Museum Online Collection. Leopold Museum. Retrieved 16 June 2025.
  8. ^ ""Idylle" (Vorlage zu: Gerlach & Schenk, Allegorien und Embleme, Nr. 75)". Wien Museum Online Sammlung. Retrieved 10 May 2025.
  9. ^ a b "Allegorie der kirchlichen Musik (Entwurf)". sammlung.belvedere.at (in German). Retrieved 5 May 2025.
  10. ^ a b c "Entwurf zu einem Vorhang des Stadttheaters Karlsbad". sammlung.belvedere.at (in German). Retrieved 6 May 2025.
  11. ^ "Zuschauerraum im Alten Burgtheater" [Auditorium in the Old Burgtheater]. Wien Museum Online Sammlung (in German). Retrieved 16 June 2025.
  12. ^ "Sappho". Wien Museum Online Sammlung. Retrieved 10 May 2025.
  13. ^ a b c d e f g h i Cf. Federico Zeri, "Klimt: Il percorso artistico", on Cento Dipinti. Klimt, Rizzoli (1998), pp. 44–48 & passim.
  14. ^ "Porträt Josef Pembaur, Komponist" [Portrait of Josef Pembaur, composer]. sammlung.tiroler-landesmuseen.at (in German). Retrieved 11 June 2025.
  15. ^ cf. also Whitford, Frank (1990), Klimt, Thames and Hudson
  16. ^ Fliedl 1994, p. 51.
  17. ^ Hodge 2014, p. 96.
  18. ^ a b "Bildnis Mathilde Trau". sammlung.belvedere.at (in German). Retrieved 5 May 2025.
  19. ^ a b c "Frauenbildnis". sammlung.belvedere.at (in German). Retrieved 5 May 2025.
  20. ^ a b Michalska, Magda (12 July 2024). "Klimt's Unknown Portraits You Would Never Guess Were His". DailyArt Magazine. Retrieved 4 May 2025.
  21. ^ a b "Bildnis einer unbekannten Frau (Frau Heymann?)". Wien Museum Online Sammlung. Retrieved 10 May 2025.
  22. ^ "Seated Young Girl". Leopold Museum Online Collection. Leopold Museum. Retrieved 16 June 2025.
  23. ^ ""Liebe" (Vorlage für: Gerlach & Schenk, Allegorien N.F. Nr. 46)". Wien Museum Online Sammlung. Retrieved 10 May 2025.
  24. ^ a b c d e f g h i j k l m n o p q r s t u v Bäumer, Angelica (1986). Gustav Klimt: Women. Translated by Ewald, Osers. London: Weidenfeld & Nicolson. ISBN 9780297794103.
  25. ^ "Die Musik". Neue Pinakothek Munich. Bavarian State Painting Collections. 5 December 2024. Retrieved 11 May 2025.
  26. ^ a b "Josef Lewinsky als Carlos in Clavigo". sammlung.belvedere.at (in German). Retrieved 6 May 2025.
  27. ^ "Dame mit lila Schal". KHM.at (in German). Retrieved 4 May 2025.
  28. ^ "Gustav Klimt "Portrait of a Lady with a Lilac Scarf"". Kunsthistorisches Museum. 2014. Archived from the original on 6 November 2024. Retrieved 4 May 2025.
  29. ^ "The Blind Man". Leopold Museum Online Collection. Leopold Museum. Retrieved 16 June 2025.
  30. ^ a b "Portrait of an Old Man in Profile (Count Traun?)". Leopold Museum Online Collection. Leopold Museum. Retrieved 16 June 2025.
  31. ^ "Compositional Sketch for "Medicine"". www.imj.org.il. Retrieved 10 May 2025.
  32. ^ a b "Sonja Knips". sammlung.belvedere.at (in German). Retrieved 5 May 2025.
  33. ^ "Dame am Kamin". sammlung.belvedere.at (in German). Retrieved 6 May 2025.
  34. ^ a b c Hodge 2014, p. 100.
  35. ^ "Portrait of Helene Klimt (1898) by Gustav Klimt – Artchive". Retrieved 4 May 2025.
  36. ^ "Pallas Athene". Wien Museum Online Sammlung. Retrieved 4 May 2025.
  37. ^ a b "Orchard in the Evening". Leopold Museum Online Collection. Leopold Museum. Retrieved 16 June 2025.
  38. ^ a b "Nach dem Regen". sammlung.belvedere.at (in German). Retrieved 6 May 2025.
  39. ^ Cf. Stanley Weintraub, Whistler: A Biography, Weybright and Talley (1974).
  40. ^ "After the Rain (Garden with Chickens in St. Agatha) (1899) by Gustav Klimt – Artchive". Retrieved 6 May 2025.
  41. ^ "(#36) Gustav Klimt". Sothebys.com. Retrieved 9 May 2025.
  42. ^ Hodge 2014, p. 101.
  43. ^ "Serena Pulitzer Lederer (1867–1943)". The Met Museum. 1899. Retrieved 10 May 2025.
  44. ^ "Nuda Veritas". www.theatermuseum.at (in German). Retrieved 10 May 2025.
  45. ^ a b "A Morning by the Pond". Leopold Museum Online Collection. Leopold Museum. Retrieved 16 June 2025.
  46. ^ Hodge 2014, p. 69.
  47. ^ Lubbock, Tom (26 January 2007). "Klimt, Gustav: Water Nymphs (1899)". The Independent. Retrieved 4 May 2025.
  48. ^ a b "Alter Mann auf dem Totenbett". sammlung.belvedere.at (in German). Retrieved 6 May 2025.
  49. ^ "The Black Bull". Leopold Museum Online Collection. Leopold Museum. Retrieved 16 June 2025.
  50. ^ "The Large Poplar I". neue.emuseum.com. Retrieved 11 May 2025.
  51. ^ a b c "On Lake Attersee". Leopold Museum Online Collection. Leopold Museum. Retrieved 16 June 2025.
  52. ^ Hodge 2014, p. 71.
  53. ^ "(#37) Gustav Klimt". Sothebys.com. Retrieved 16 June 2025.
  54. ^ "Judith". sammlung.belvedere.at (in German). Retrieved 5 May 2025.
  55. ^ Cf. Frank Whitford, Klimt (1990), s.v. "Adele Bloch-Bauer".
  56. ^ "Kunsthaus Zug – Collection – Artwork – Tannenwald I". kunsthauszug.ch. Retrieved 16 June 2025.
  57. ^ "Goldfische - Kunstmuseum Solothurn". www.kunstmuseum-so.ch (in German). Retrieved 10 May 2025.
  58. ^ Whitford, Frank (1990). Klimt. London: Thames & Hudson. p. 61. ISBN 9780500202463.
  59. ^ "Bildnis Emilie Flöge". Wien Museum Online Sammlung. Retrieved 10 May 2025.
  60. ^ "(#26) Gustav Klimt". Sothebys.com. Retrieved 10 May 2025.
  61. ^ Neuendorf, Henri (14 July 2015). "Buyer of $39 Million Klimt Painting Revealed". Artnet News. Retrieved 11 May 2025.
  62. ^ a b "The Large Poplar II (Gathering Storm)". Leopold Museum Online Collection. Leopold Museum. Retrieved 16 June 2025.
  63. ^ "Hope I". www.gallery.ca. Retrieved 10 May 2025.
  64. ^ a b Hodge 2014, p. 54.
  65. ^ "Pale Face". neue.emuseum.com. Retrieved 11 May 2025.
  66. ^ a b "Gustav Klimt | Portrait of Hermine Gallia | NG6434 | National Gallery, London". www.nationalgallery.org.uk. Retrieved 4 May 2025.
  67. ^ a b "Freundinnen (Wasserschlangen I)". sammlung.belvedere.at (in German). Retrieved 5 May 2025.
  68. ^ Hodge 2014, p. 55.
  69. ^ Walfisz, Jonny (4 February 2023). "A lost Klimt masterpiece returns to Austria after 60 years". www.euronews.com. Retrieved 10 May 2025.
  70. ^ "National Gallery of Modern and Contemporary Art, Rome | Guide". www.rome.info. Retrieved 10 May 2025.
  71. ^ "Margaret Stonborough-Wittgenstein". Neue Pinakothek Munich. Bavarian State Painting Collections. 5 December 2024. Retrieved 11 May 2025.
  72. ^ Sembach, Klaus-Jurgen (2002). Art Nouveau. Köln: Taschen. p. 225. ISBN 978-3-8228-2022-3.
  73. ^ Freytag, Anette (2010). "Josef Hoffmann's unknown masterpiece: the garden of Stoclet House in Brussels (1905–1911)". Studies in the History of Gardens and Designed Landscapes. 30 (4): 337–372. doi:10.1080/14601176.2010.485733. ISSN 1460-1176. S2CID 161356977.
  74. ^ The Renaissance Society, Modern Austrian Painting Archived 6 April 2012 at the Wayback Machine
  75. ^ "Lecture about the 'Stoclet-frieze' by Gustav Klimt". Van Gogh Museum. Retrieved 11 June 2025.
  76. ^ a b c "9 Working Drawings of the Execution of a Mosaic Frieze for the Dining Hall of Stoclet House in Brussels". MAK Collection Online. Retrieved 11 June 2025.
  77. ^ Hodge 2014, p. 23.
  78. ^ Nikolić, Dušan (5 February 2023). "Gustav Klimt's 10 Most Notable Artworks". TheCollector. Retrieved 11 June 2025.
  79. ^ a b "Fritza Riedler". sammlung.belvedere.at (in German). Retrieved 5 May 2025.
  80. ^ "Bauerngarten mit Sonnenblumen". sammlung.belvedere.at (in German). Retrieved 6 May 2025.
  81. ^ "Adele Bloch-Bauer I". neue.emuseum.com. Retrieved 11 May 2025.
  82. ^ a b "Blühender Mohn". sammlung.belvedere.at (in German). Retrieved 6 May 2025.
  83. ^ Hodge 2014, p. 77.
  84. ^ "Der Kuss (Liebespaar)". sammlung.belvedere.at (in German). Retrieved 9 May 2025.
  85. ^ Cf. Susanna Partsch, Klimt: Life and Work, Bracken Books (1989), pp. 267, 276.
  86. ^ "Gustav Klimt. Hope, II. 1907-08 | MoMA". The Museum of Modern Art. Retrieved 11 May 2025.
  87. ^ Cf. Laura Payne, Klimt, Parragon Publishing (2004), ss.vv..
  88. ^ a b "Sonnenblume". sammlung.belvedere.at (in German). Retrieved 6 May 2025.
  89. ^ "Dame mit Hut und Federboa". Gustav Klimt-Datenbank (in German). Retrieved 12 May 2025.
  90. ^ "Park at Kammer Castle". neue.emuseum.com. Retrieved 11 May 2025.
  91. ^ "Giuditta - Olio su tela". www.archiviodellacomunicazione.it. Retrieved 11 May 2025.
  92. ^ "Gustav Klimt. The Park. 1910 or earlier | MoMA". The Museum of Modern Art. Retrieved 11 May 2025.
  93. ^ Dobai, Johannes (1988). Gustav Klimt: Landscapes. Translated by Osers, Ewald (1st ed.). Weidenfeld & Nicolson. ISBN 9780297793854.
  94. ^ "Mutter mit zwei Kindern (Familie)". sammlung.belvedere.at (in German). Retrieved 9 May 2025.
  95. ^ a b "Schloss Kammer am Attersee III". sammlung.belvedere.at (in German). Retrieved 9 May 2025.
  96. ^ a b "Der schwarze Federhut". Gustav Klimt-Datenbank (in German). Retrieved 12 May 2025.
  97. ^ a b "Gustav Klimt | Highlights | COLLECTION | Leopold Museum". www.leopoldmuseum.org. Retrieved 12 May 2025.
  98. ^ a b "Tod und Leben (Tod und Liebe)". Gustav Klimt-Datenbank (in German). Retrieved 12 May 2025.
  99. ^ Egon Schiele: The Complete Works Catalogue Raisonné of all paintings and drawings by Jane Kallir (1990), Harry N. Abrams, s.v. "Gustav Klimt".
  100. ^ "Oberösterreichisches Bauernhaus". sammlung.belvedere.at (in German). Retrieved 9 May 2025.
  101. ^ Hodge 2014, p. 83.
  102. ^ "Allee zum Schloss Kammer". sammlung.belvedere.at (in German). Retrieved 9 May 2025.
  103. ^ "Adele Bloch-Bauer II | Belvedere Museum Vienna". www.belvedere.at. Retrieved 12 May 2025.
  104. ^ "Mäda Primavesi (1903–2000)". The Met Museum. Retrieved 10 May 2025.
  105. ^ "Die Jungfrau". Gustav Klimt-Datenbank (in German). Retrieved 12 May 2025.
  106. ^ Hodge 2014, p. 115.
  107. ^ "Kunsthaus Zug – Collection – Artwork – Italienische Gartenlandschaft". kunsthauszug.ch. Retrieved 16 June 2025.
  108. ^ "Forsthaus in Weißenbach I (Landhaus am Attersee)". sammlung.belvedere.at (in German). Retrieved 9 May 2025.
  109. ^ a b "Litzlbergkeller". Leopold Museum Online Collection. Leopold Museum. Retrieved 16 June 2025.
  110. ^ a b "Porträt Elisabeth Lederer". Gustav Klimt-Datenbank (in German). Retrieved 12 May 2025.
  111. ^ "Modern Art \ Tel Aviv Museum of Art". www.tamuseum.org.il. Retrieved 12 May 2025.
  112. ^ Hodge 2014, p. 118.
  113. ^ "Kunsthaus Zug – Collection – Artwork – Gartenlandschaft mit Bergkuppe (Pfarrgarten)". kunsthauszug.ch. Retrieved 16 June 2025.
  114. ^ Hodge 2014, p. 120.
  115. ^ "Adam und Eva". sammlung.belvedere.at (in German). Retrieved 9 May 2025.
  116. ^ Hodge 2014, p. 124.
  117. ^ "Johanna Staude". sammlung.belvedere.at (in German). Retrieved 9 May 2025.
  118. ^ Hodge 2014, p. 123.
  119. ^ "Dame mit Fächer". Gustav Klimt-Datenbank (in German). Retrieved 12 May 2025.
  120. ^ Hodge 2014, p. 125.
  121. ^ "Dame in Weiß". sammlung.belvedere.at (in German). Retrieved 9 May 2025.
  122. ^ a b "Die Braut". sammlung.belvedere.at (in German). Retrieved 9 May 2025.
  123. ^ a b "Amalie Zuckerkandl". sammlung.belvedere.at (in German). Retrieved 9 May 2025.
  124. ^ a b "Posthumous Portrait of Ria Munk III". The Met Museum. Retrieved 10 May 2025.
  125. ^ "Gustav Klimt (1862-1918) Frauenbildnis (Portrait of Ria Munk III)". Christie's. Retrieved 10 May 2025.

Bibliography

[edit]

Further reading

[edit]
[edit]
Wikimedia Commons has media related to Paintings by Gustav Klimt.
Retrieved from "https://en.wikipedia.org/w/index.php?title=List_of_paintings_by_Gustav_Klimt&oldid=1296206184"