Klimt adele bloch bauer restitution

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klimt adele bloch bauer restitution

The Lady in Gold: The Extraordinary Tale of Gustav Klimts Masterpiece, Portrait of Adele Bloch-Bauer by Anne-Marie OConnor

The Lady in Gold, considered an unforgettable masterpiece, one of the twentieth centurys most recognizable paintings, made headlines all over the world when Ronald Lauder bought it for $135 million a century after Klimt, the most famous Austrian painter of his time, completed the society portrait. Anne-Marie OConnor, writer for the Washington Post, formerly of the Los Angeles Times, tells the galvanizing story of the Lady in Gold, Adele Bloch-Bauer, a dazzling Viennese Jewish society figure; daughter of the head of one of the largest banks in the Hapsburg Empire, head of the Oriental Railway, whose Orient Express went from Berlin to Constantinople; wife of Ferdinand Bauer, sugar-beet baron. The Bloch-Bauers were art patrons, and Adele herself was considered a rebel of fin de siècle Vienna (she wanted to be educated, a notion considered degenerate” in a society that believed women being out in the world went against their feminine nature). The author describes how Adele inspired the portrait and how Klimt made more than a hundred sketches of her-simple pencil drawings on thin manila paper. And OConnor writes of Klimt himself, son of a failed gold engraver, shunned by arts bureaucrats, called an artistic heretic in his time, a genius in ours. She writes of the Nazis confiscating the portrait of Adele from the Bloch-Bauers grand palais; of the Austrian government putting the painting on display, stripping Adeles Jewish surname from it so that no clues to her identity (nor any hint of her Jewish origins) would be revealed. Nazi officials called the painting, The Lady in Gold and proudly exhibited it in Viennas Baroque Belvedere Palace, consecrated in the 1930s as a Nazi institution. The author writes of the painting, inspired by the Byzantine mosaics Klimt had studied in Italy, with their exotic symbols and swirls, the subject an idol in a golden shrine. We see how, sixty years after it was stolen by the Nazis, the Portrait of Adele Bloch-Bauer became the subject of a decade-long litigation between the Austrian government and the Bloch-Bauer heirs, how and why the U.S. Supreme Court became involved in the case, and how the Courts decision had profound ramifications in the art world. In this book listeners will find riveting social history; an illuminating and haunting look at turn-of-the-century Vienna; a brilliant portrait of the evolution of a painter; a masterfully told tale of suspense. And at the heart of it, The Lady in Gold-the shimmering painting, and its equally irresistible subject, the fate of each forever intertwined.
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Published 18.12.2018

Art of the Heist: The Lady In Gold

Maria Altmann (February 18, – February 7, ) was an Austrian- American Jewish She was a niece of Adele Bloch-Bauer, a wealthy Jewish patron of the arts who served as the model for some of small collection of artwork by the Austrian master Gustav Klimt, including two portraits of his wife, Adele Bloch-Bauer.
Anne-Marie O'Connor

The Woman in Gold

Ferdinand died in exile in Switzerland in Altmann escaped from Austria, making her way to Los Angeles with her husband, where she opened a dress boutique. When the Austrian government passed a restitution law in , ruling that property stolen by the Nazis could be returned to its rightful owners, Maria Altmann — now in her 80s — began a legal battle to regain the Klimts that belonged to her family, which included a second portrait of Adele Bloch-Bauer. An arbitration panel in Vienna would ultimately award Altmann ownership of the paintings. This happens to be a masterpiece that you can find on jam jars, slippers and T-shirts, but nothing about the reproductions prepares you for its magnificence when you first see it. Art, music, science and psychology were merging together. Then there was this extraordinary chain of events, and at the conclusion of the century both Maria and the painting ended up in the United States.

After spending time there, Klimt was inspired to create these gilded works of art, including this one of Bloch-Bauer. This acquisition made available in part through the generosity of the heirs of the Estates of Ferdinand and Adele Bloch-Bauer. Bloch-Bauer was one of Klimt's most significant patrons and friends, and was the only subject that the artist painted twice. She and her husband Ferdinand were one of the most preeminent art collecting families in Vienna. In addition to Klimt's portrait of Adele, which hung in her private apartment in the Bloch-Bauer home pictured , the family's collection included paintings from Vienna's Biedermeier period, porcelain from the Royal Vienna Porcelain Factory, and four other Klimt works including a second portrait of Adele and several of his landscapes.

And when she sat for a portrait by Gustav Klimt, she was transformed into an icon, writes Kimberly Bradley. Pleading… or challenging? But this is clearly a woman of depth and mystery. The exhibition includes portraits of other women, but Adele remains the most iconic. It is she who embodies both the vulnerability and strength of women in turn-of-the-century Vienna, a society in profound transition. View image of Adele Bloch-Bauer.

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 ; these were two of several works by the artist that the family owned. Adele had left Klimt's artworks to the Galerie Belvedere in her will, although when she died in those artworks were in Ferdinand's possession.
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Last month's world-record sale of this Gustav Klimt portrait marked the culmination of its sensational journey from the salons of Vienna to an LA auction room, via the hands of Nazi looters. Alix Kirsta traces its story and meets the woman who fought to reclaim her inheritance. An exhibition at the Neue Galerie on Manhattan's Upper East Side that opens next Thursday is already guaranteed to be New York's most talked-about and potentially important art event of the year. The much-publicised 'Bloch-Bauer collection' features only five paintings by Gustav Klimt, but will attract huge crowds. Its centrepiece, an elaborately gold-embellished portrait of Adele Bloch-Bauer, has long been an icon of 20th-century art, as celebrated and widely reproduced as Klimt's best-known work The Kiss.

A dazzling gold-flecked portrait by Gustav Klimt has been purchased for the Neue Galerie in Manhattan by the cosmetics magnate Ronald S. The portrait, of Adele Bloch-Bauer, the wife of a Jewish sugar industrialist and the hostess of a prominent Vienna salon, is considered one of the artist's masterpieces. For years, it was the focus of a restitution battle between the Austrian government and a niece of Mrs. In January all five paintings were awarded to the niece, Maria Altmann, now 90, who lives in Los Angeles, and other family members. Although confidentiality agreements surrounding the sale forbid Mr.

3 thoughts on “The Lady in Gold: The Extraordinary Tale of Gustav Klimts Masterpiece, Portrait of Adele Bloch-Bauer by Anne-Marie OConnor

  1. Portrait of Adele Bloch-Bauer I is a painting by Gustav Klimt, completed between and .. They filed a claim with the restitution committee for the return of six paintings: Adele Bloch-Bauer I, Adele Bloch-Bauer II, Apfelbaum I, Buchenwald.

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