List of paintings by Gustav Klimt

This is a list of paintings by Austrian symbolist painter 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

Early works

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 descendant of Klimt.[2]
Forest Floor[3] 1881/1882 Oil on canvas, 10 cm × 8 cm Leopold Museum, Vienna
Allegory of Merry and Solemn Art[4] 1882/1883 Distemper on canvas, c. 1200 cm × 600 cm FX Šalda Theatre [de], Liberec Painted in collaboration with Ernst Klimt and Franz von Matsch.[4]
Male Nude[5] 1883 Oil on canvas, 68 cm × 54.8 cm Österreichische Galerie Belvedere, Vienna
Sitting Nude Man Turned to the Left[6] 1883 Oil on canvas, 46 cm × 37 cm Leopold Museum, Vienna The painting was dated by Klimt himself, painted during his time as a student at the Vienna School of Arts and Crafts.[6]
Fable[7] or Allegory of Fable[8] 1883 Oil on canvas, 83.5 cm × 116 cm Vienna Museum, Vienna
Head Study of a Girl from Haná[9] 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.[9]
Idyll[10] or Allegory of Idyll[11] 1884 Oil on canvas, 49.7 cm × 74 cm Vienna Museum, Vienna
The Theatre at Taormina[12] 1886–1888 Oil on marble plaster, c. 750 cm × 600 cm Burgtheater north staircase, Vienna The main ceiling panel in the Vienna Burgtheater's north staircase.[13] This was done as part of the joint commission to help decorate the new Burgtheater, in collaboration with Ernst Klimt and Franz Matsch, who painted other works in the theater.[14][15]
The Cart of Thespis[16] 1886–1888 Oil on marble plaster, c. 280 cm × 400 cm Burgtheater south staircase, Vienna Part of the Burgtheater commission.[16]
Shakespeare's Globe Theatre[16] 1886–1888 Oil on marble plaster, c. 280 cm × 600 cm Burgtheater south staircase, Vienna Part of the Burgtheater commission.[16]
The Altar of Dionysis[17] 1886–1888[18] Oil on marble plaster,c. 160 cm × 1200 cm[19][better source needed] Burgtheater tymanpum south staircase, Vienna The last of Klimt's paintings to be completed for the Burgtheater commission.[20]
Auditorium of the Old Burgtheater[21] 1888–1889 Gouache on paper, 82 cm × 92 cm Vienna Museum, Vienna
Sappho[22] 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.[23]

1890s

Image Title Year Medium Location Notes
Portrait of Joseph Pembaur[24] 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.[23][25] Also known as Portrait of Joseph Pembauer.[26][27]
Portrait of Mathilde Trau[28] 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.[28]
Portrait of a Woman by Gustav Klimt, completed 1893 or 1894
 Portrait of a Woman[29] 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.[29] The subject is Marie Breunig, a friend and client of fashion designer Emilie Flöge, Klimt's life companion.[29][30]
Portrait of an unknown woman (Mrs. Heymann?)[31] c. 1894 Oil on paperboard, 30 cm × 23 cm Vienna Museum, Vienna An inscription names the subject as Mrs. Heymann.[31]
Seated Young Girl[32] c. 1894 Oil on wood, 14.1 cm × 9.6 cm Leopold Museum, Vienna
Love[33] or Allegory of Love[34] 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.[citation needed]
Music I[35] 1895 Oil on canvas, 37 cm × 44.5 cm Neue Pinakothek, Munich[36] 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.[citation needed]
Josef Lewinsky as Carlos in Clavigo[37] 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.[37]
Portrait of a Lady with a Purple Scarf[38] 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.[39]
The Blind Man[40] c. 1896 Oil on canvas, 66 cm × 53 cm Leopold Museum, Vienna Klimt likely paid this man to pose for him. This work was exhibited at the first Secessionist exhibition.[41]
Portrait of an Old Man in Profile (Count Traun?)[42] 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.[42]
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.[citation needed]
Woman in an Armchair[43] or Lady in an Armchair[44] 1897–1898 Oil on board, 52 cm × 52 cm Privately owned
Portrait of Sonja Knips[45] 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.[45] 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 with a Cape and Hat[46] or Lady with Cape and Hat in Front of Red Background[47] 1897/1898 Oil on canvas, 30 cm × 19.5 cm Klimt Foundation, Vienna
Lady by the Fireplace[48] 1897/1898 Oil on canvas, 41 cm × 66 cm Österreichische Galerie Belvedere, Vienna
(black & white image) 		The Music[49] or Music II[50] 1897/1898 Oil on canvas, 150 cm × 200 cm Destroyed by fire in 1945
Portrait of Helene Klimt[51] 1898 Oil on carboard, 60 cm × 40 cm Privately owned[52][51] 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.[30][51]
Pallas Athena[53] 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.[23]
Moving Water[54] 1898 Oil on canvas, 52 cm × 65 cm Privately owned
Full-Face Head of a Girl[55] 1898 Oil on canvas, 38 cm × 43 cm Privately owned
Orchard in the Evening[56] 1898 Oil on canvas, 69 cm × 55.6 cm Leopold Museum, Vienna Exhibited on permanent loan from a private Austrian collection.[56]
After the Rain[57] or Garden with Chickens in St. Agatha[58] 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.[57] 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.[59]
Girl in the Foliage[60] c. 1896–1899 Oil on canvas, 32.4 cm × 24 cm Klimt Foundation, Vienna
Full-Face Portrait of a Lady[61] c. 1898–1899 Oil on cardboard, 45 cm × 34 cm Privately owned[62]
Schubert at the Piano[63] 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.[64]
Serena Pulitzer Lederer[65] 1899 Oil on canvas, 190.8 cm × 85.4 cm Metropolitan Museum of Art, New York
Nuda Veritas[66] 1899 Oil on canvas, 252 cm × 56.2 cm Austrian Theatre Museum, Vienna[67] 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.[23]
A Morning by the Pond,[68] Still Pond or Reflection[69] 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.[68] The painting’s style is reminiscent of Monet’s atmospheric landscapes.[69]
Water Nymphs (Silver Fish)[70] or Mermaids[71] c. 1899 Oil on canvas, 82 cm × 52 cm Bank Austria Kunstforum Wien [de], Vienna 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.[71]

1900s

Image Title Year Medium Location Notes
Old Man on His Deathbed[72] 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.[72]
1900 painting by Gustav Klimt
1900 painting by Gustav Klimt
 The Black Bull[73] 1900 Oil on canvas, 82 cm × 82 cm Leopold Museum, Vienna
The Large Poplar I[74] 1900 Oil on canvas, 81.3 cm × 80.3 cm Neue Galerie, New York
(black & white image) 		Portrait of Trude Steiner[75] 1900 Oil on canvas, 140 cm × 80 cm Lost since 1941
On Lake Attersee[76] 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.[76] 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.[77][76]
Farmhouse with Birch Trees[78] 1900 Oil on canvas, 80.3 cm × 80.3 cm Privately owned
Portrait of Rose von Rosthorn-Freidmann[79] 1900/1901 Oil on canvas, 140 cm × 80 cm Privately owned
The Swamp[80] 1900/1901 Oil on canvas, 80 cm × 80 cm Privately owned
Cows in the Stable[81] or Cows in the Barn[82][83] 1900–1901 Oil on canvas, 75 cm × 76.5 cm Lentos Art Museum, Linz
Judith I[84] 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.[85] 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.[23]
Fir Forest I[86] 1901 Oil on canvas, 90.5 cm × 90 cm Zug Art Museum [de], Zug, Switzerland
Portrait of Marie Henneberg[87] 1901/1902 Oil on canvas, 140 cm × 100 cm Moritzburg Art Museum, Halle
Goldfish[88] 1901–1902 Oil on canvas, 181 cm × 66.5 cm Kunstmuseum Solothurn, Solothurn[89] Klimt initially thought to title the painting To my critics in response to criticism received for his Faculty Paintings at the University of Vienna.[90] The canvas has a symbolic intention and is dominated by the bare back, reminiscent of Rodin.[citation needed]
Beethoven Frieze[91] 1901–1902 Secession Building, Vienna A painted interpretation of the final choral movement of Beethoven's Ninth Symphony (1824).[91]
Beech Grove I[92] c. 1902 Oil on canvas, 100 cm × 100 cm Albertinum, Dresden
Portrait of Emilie Flöge[93] 1902 Oil on canvas, 178 cm × 80 cm Vienna Museum, Vienna
Portrait of Gertrud Loew (Gertha Felsőványi)[94][95] 1902 Oil on canvas, 149.5 cm × 45 cm Privately owned[96]
The Large Poplar II (Gathering Storm)[97] 1902/1903 Oil on canvas, 100.8 cm × 100.8 cm Leopold Museum, Vienna
Hope I[98] 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.[citation needed]
Life is a Struggle (Golden Rider)[99] or The Golden Knight (Life is a Battle)[100] 1903 Oil, tempera, and gold leaf on canvas, 100 cm × 100 cm Aichi Prefectural Museum of Art, Nagoya
Will-o'-the-Wisp or Irrlichter[101][102] 1903 Oil on board laid down on canvas, 52 cm × 59.5 cm Privately owned The painting had been considered lost until emerging from a private collection in 1978. It had been previously only known from a photo at the 1903 Secession exhibition and references in contemporary publications. For decades it was presumed the painting had been destroyed, like many of Klimt's works in 1945. In this work, Klimt portrays the Will-o'-the-wisp, an atmospheric ghost light appearing in swamps and marshy areas, which was said to often lead foolish travellers astray.[102]
Pale Face[103] 1903 Oil on canvas, 80 cm × 40 cm Neue Galerie, New York
(black & white image) 		From the Kingdom of Death or Procession of the Dead[104] 1903 Oil on canvas, 48 cm × 63 cm Lost since 1945[105]
(black & white image) 		Golden Apple Tree (Apple Tree with Golden Apples)[106] 1903 Oil on canvas, 100 cm × 100 cm Destroyed by fire in 1945
Portrait of Hermine Gallia[107] 1904
Oil on canvas, 170.5 cm × 96.5 cm
 National Gallery, London Klimt's only painting in a British public collection.[107] Klimt drew over 40 sketches of the sitter before settling on the final pose. Gallia is depicted in a fashionable 'reform' dress. Her face, neckline, hair and hands are realistically modelled while her pendant brooch is the only area of impasto.[108]
Water Serpents I (Friends),[109] Water Snakes I[110] or The Hydra[111] 1904–1907 Pencil on parchment with watercolour and body colour, heightened with silver gilt, bronze gilt and gold, 50 cm x 20 cm[112] 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.[109] 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.[citation needed]
Water Serpents II or Water Snakes II[113] 1904–1907 Oil on canvas, 80 cm × 145 cm Privately owned[114]
The Three Ages of Woman[115] 1905 Oil on canvas, 180 cm × 180 cm Galleria Nazionale d'Arte Moderna, Rome[116] 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.[citation needed]
Margaret Stonborough-Wittgenstein[117] 1905 Oil on canvas, 180 cm × 90 cm Neue Pinakothek, Munich[118]
Rose Bushes under the Trees[119] or Roses Among the Trees[120][121] c. 1905 Oil on canvas, 110 cm × 110 cm[122] Privately owned[123] The painting was restituted to the descendants of its original owner in 2022. It had been stolen by the Nazis from a Jewish family in Austria in 1938, when Nora Stiasny, a Holocaust victim, was forced to sell it under duress. The French state purchased the work in 1980, unaware of its history, and it was displayed at the Musée d’Orsay in Paris until its restitution.[119][124][123]
Flower Garden or Farm Garden[125] 1905–1907 Oil on canvas, 110 cm × 110 cm Privately owned[126][127]
Portrait of Fritza Riedler[128] 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.[128] Portrait of Fritza Riedler is one of the most exhibited of Klimt's portraits.[citation needed]
Farm Garden with Sunflowers[129] 1906 Oil on canvas, 110 cm × 110 cm Österreichische Galerie Belvedere, Vienna
(black and white image) 		Medicine[130] 1900–1907 Oil on canvas, 430 cm × 300 cm Destroyed by fire in 1945
(black and white image) 		Philosophy[130] 1900–1907 Oil on canvas, 430 cm × 300 cm Destroyed by fire in 1945
(black and white image) 		Jurisprudence[130] 1903, final version 1907 Oil on canvas, 430 cm × 300 cm Destroyed by fire in 1945
Orchard[131] or Field of Flowers[132] c. 1907 Oil on canvas, 100 cm × 100 cm Carnegie Museum of Art, Pittsburgh
Portrait of Adele Bloch-Bauer I[133] 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.[citation needed]
Blooming Poppies[134] or Poppy Field[135] 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.[134]
Friends I (Sisters)[60] 1907 Oil on canvas, 125 cm × 42 cm Klimt Foundation, Vienna
The Kiss[136] 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.[137]
Hope II[138] 1907–1908 Oil, gold, and platinum on canvas, 110.5 cm × 110.5 cm Museum of Modern Art, New York
Danaë[139] 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).[140]
Sunflower[141] or The Sunflower[142] 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 have considered this painting a hidden portrait of the designer Emilie Flöge.[141]
Blooming Meadow[143] c. 1908 Oil on canvas, 110 cm × 110 cm Privately owned
Schloss by the Water (Schloss Kammer on the Attersee I)[144] or Water Castle[145] 1908-1909 Oil on canvas, 110 cm × 100 cm[145] National Gallery Prague
9 working drawings for Stoclet Frieze[146] 1908-1911 Mixed media on paper Museum of Applied Arts, Vienna Including Expectation (Dancer), The Tree of Life, and Fulfillment.[146]
Schloss Kammer on the Attersee II[147] 1909 Oil on canvas, 110 cm × 110 cm Privately owned[148]
Lady With Hat and Feather Boa[149] 1909 Oil on canvas, 69 cm × 55 cm Privately owned[150]
Park at Kammer Castle[151] 1909 Oil on canvas, 110 cm × 110 cm Neue Galerie, New York
Judith II (Salomé)[152] 1909 Oil on canvas, 176 cm × 46 cm Ca' Pesaro, Venice
The Park[153] 1909–1910[154] 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.[23]
Mother with Two Children (Family)[155] 1909/1910 Oil on canvas, 90 cm × 90 cm Österreichische Galerie Belvedere, Vienna
Schloss Kammer on the Attersee III[156] 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.[156]

1910s

Image Title Year Medium Location Notes
The Black Feathered Hat[157] or Lady with Feather Hat[158] 1910 Oil on canvas, 79 cm × 63 cm Privately owned[158] 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.[23]
Death and Life[159] or Death and Love[160] 1910/1915 Oil on canvas, 180.8 cm × 200.6 cm[160] Leopold Museum, Vienna First painted in 1910, Klimt decided to fundamentally revise the work in 1915.[159] 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.[161]
Upper Austrian Farmhouse[162] or Farmhouse in Upper Austria[163] 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.[163]
Farm Garden (or Cottage Garden) with Crucifix[164] or Country Garden with Cavalry[105] 1911–1912 Oil on canvas, 110 cm × 110 cm Destroyed by fire in 1945[165][166]
Apple Tree I[167] c. 1912 Oil on canvas, 109 cm × 110 cm Privately owned[168]
Avenue to Schloss Kammer[169] 1912 Oil on canvas, 110 cm × 110 cm Österreichische Galerie Belvedere, Vienna
Portrait of Adele Bloch-Bauer II[170] 1912 Oil on canvas, 190 cm × 120 cm Privately owned[171]
Miss Ria Munk on her Deathbed[172] 1912 Oil on canvas, 50 cm × 50.5 cm Privately owned
Mäda Primavesi[173] 1912–1913 Oil on canvas, 149.9 cm × 110.5 cm Metropolitan Museum of Art, New York
The Maiden[174] or The Virgin[175] 1913 Oil on canvas, 190 cm × 200 cm National Gallery, Prague 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.[citation needed]
Italian Garden Landscape[176] or Italian Garden[177] 1913 Oil on canvas, 110 cm × 110 cm Zug Art Museum, Zug, Switzerland In July and August 1913, Klimt spent 15 days with friends at Lake Garda in Italy, where he painted the work in the gardens of the hotel Albergo Morandi.[177][178]
Malcesine on Lake Garda[179] 1913 Oil on canvas, 110 cm × 110 cm Lost since 1945[105]
Church in Cassone (Landscape with Cypresses)[180] 1913 Oil on canvas, 110 cm × 110 cm Privately owned[181]
Portrait of Eugenia Primavesi[182] 1913–1914 Oil on canvas, 140 cm × 85 cm Toyota Municipal Museum of Art, Toyota Eugenia Primavesi was wife to Austrian industrialist Otto Primavesi [de] and she strongly influenced his artistic commissions.[183]
Forester's House in Weissenbach I[184] 1914 Oil on canvas, 110 cm × 110 cm Österreichische Galerie Belvedere, Vienna On permanent loan from a private collection.[184]
Forester’s House in Weissenbach II (Garden)[185] 1914 Oil on canvas, 110 cm × 110 cm[186] Neue Galerie New York
Litzlberg on Lake Attersee[187] 1915 Oil on canvas, 110 cm × 110 cm Privately owned
Litzlbergkeller[188] 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].[188]
Portrait of Elisabeth Lederer[189] or Portrait of Elisabeth Bachofen-Echt[190][191] 1916 Oil on canvas, 180 cm × 126 cm Privately owned Klimt began painting this work in 1914.[189] 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.[23]
Portrait of Friederike Maria Beer[192] 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.[193] 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]
(black & white image) 		Wally (Portrait of a young girl with exposed breast)[194] or Portrait of Wally[195] 1916 Oil on canvas, 110 cm × 110 cm Destroyed by fire in 1945
Garden Path with Chickens (Garden with Mallows and Chickens)[196] 1916 Oil on canvas, 110 cm × 110 cm Destroyed by fire in 1945
Houses in Unterach on Lake Attersee[197] 1916 Oil on canvas, 110 cm × 110 cm Privately owned The painting was originally owned by Adele and Ferdinand Bloch-Bauer. It depicts the place where Klimt spent much time during World War I.[197]
Forest Slope in Unterach on the Attersee[198] 1916 Oil on canvas, 110 cm × 110 cm Privately owned
Garden landscape with mountain top (parish garden)[199] 1916 Oil on canvas, 110 cm × 110 cm Zug Art Museum, Zug, Switzerland
Schönbrunn Landscape[60] or Park of Schönbrunn[200] 1916 Oil on canvas, 110 cm × 110 cm Privately owned
Church in Unterach on Lake Attersee[201] c. 1916 Oil on canvas, 110 cm × 110 cm Privately owned Klimt painted this view from the village of Weissenbach, using binoculars to look over Lake Attersee. In this work, Klimt abandons perspective, instead favouring shape, texture and colour.[201]
Lady with a Muff[202] 1916–1917 Oil on canvas, 50 cm × 50 cm[203] Privately owned The painting was long considered lost after being last exhibited in Vienna in 1926. It had been held in a private Czech collection since the 1930s, and in 2014 the owner agreed to loan it to the National Gallery Prague for temporary exhibition.[202][204][205]
Women Friends[206] 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.[207]
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.[citation needed]
The Dancer[208] 1916–1917 (unfinished) Oil on canvas, 180 cm × 90 cm[209] Privately owned The unfinished painting may be a reworked version of Klimt's second attempt at painting a posthumous portrait of Ria Munk. It was the first Klimt painting to be exhibited in the United States in 1922 at the New York branch of the Wiener Werkstätte.[208][209]
Adam and Eve[210] 1916–1918 (unfinished) Oil on canvas, 173 cm × 60 cm Österreichische Galerie Belvedere Unfinished. Eve is the main figure in the painting, with Adam in the background serving to contrast with her milky white skin.[211] 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.[23]
Leda with the Swan[212] 1917 Oil on canvas, 99 cm × 99 cm Destroyed by fire in 1945
(black & white image) 		Gastein[213] 1917 Oil on canvas, 70 cm × 70 cm Lost since 1945[105]
Head of a Woman[214][215] 1917 (unfinished) Oil on canvas, 67 cm × 56 cm Lentos Art Museum, Linz The sitter in this unfinished portrait is unknown.[214]
Johanna Staude[216] 1917/1918 (unfinished) Oil on canvas, 70 cm × 50 cm Österreichische Galerie Belvedere Unfinished.[217] Another portrait, where Klimt concentrates on the body upper half, with an arlequin blue motif of leaves in the dress.[citation needed]
Lady with a Fan[218] 1917/1918 Oil on canvas, 100 cm × 100 cm Privately owned One of Klimt's last finished works.[219]
Lady in White[220] 1917/1918 (unfinished) Oil on canvas, 70 cm × 70 cm Österreichische Galerie Belvedere
The Bride[221] 1917/1918 (unfinished) 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.[221]
Amalie Zuckerkandl[222] 1917/18 (unfinished), possibly begun as early as 1913/14 Oil on canvas, 128 cm × 128 cm Österreichische Galerie Belvedere Unfinished.[222]
Posthumous Portrait of Ria Munk III[223] 1917/1918 (unfinished) Oil on canvas, 178.1 cm × 89.9 cm Privately owned[224] Unfinished.[223]

See also

  • Stoclet Frieze, a series of murals created by Klimt for a 1905–1911 commission in the Stoclet Palace, Brussels

Notes

  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

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Bibliography

Further reading

  • Chillida, Julio Vives. El Beso (Los Enamorados) de Gustav Klimt. Un Ensayo de Iconografía, Lulu.com, junio de 2008, ISBN 978-1-4092-0530-2.
  • Czernin, Hubertus. Die Fälschung: Der Fall Bloch-Bauer und das Werk Gustav Klimts. Czernin Verlag, Vienna 2006. ISBN 3-7076-0000-9
  • Kallir, Jane, Alfred Weidinger: Gustav Klimt. In Search of the Total Artwork. Prestel, New York 2009, ISBN 978-3-7913-4232-0
  • Schorske, Carl E. "Gustav Klimt: Painting and the Crisis of the Liberal Ego" in Fin-de-Siècle Vienna: Politics and Culture. Vintage Books, 1981. ISBN 0-394-74478-0
  • Weidinger, Alfred. Klimt. Catalogue Raisonné, Prestel, New York, 2007, ISBN 978-3-7913-3764-7
allikas: https://en.wikipedia.org/wiki/Gustav_Klimt%27s_list_of_paintings