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This work was realized in 1907. The protagonist of the painting is Adele Bloch-Bauer, a cultured and sophisticated woman, presumed lover of Klimt for a good twelve years and wife of a rich Jewish industrialist. The same woman is also represented in the two versions of the works “Judith I” and “Judith II” by Klimt, giving credit to the voices that wanted them sentimentally linked.
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Fir wood frame with rounded edges of cm. 3.0 thickness
2 - Characteristics and Properties
Ready to hang
3 - Characteristics and Properties
Edges are finished on the sides
4 - Characteristics and Properties
Water and UV resistant canvas
This work was realized in 1907 and recently bought by Ronald Lauder and destined for the Neue Galerie in New York, a small museum of German and Austrian art, after a long international debate between the Austrian government and the heirs of the Bloch-Bauer family, who escaped to America during the Second World War. The protagonist of the painting is Adele Bloch-Bauer, a cultured and sophisticated woman, presumed lover of Klimt for a good twelve years and wife of a rich Jewish industrialist. The same woman is also represented in the two versions of the works “Judith I” and “Judith II” by Klimt, giving credit to the voices that wanted them sentimentally linked. In this canvas Adele is seated in an armchair; her body is wrapped in a long golden dress and full of ornaments that recall the Byzantine art (insistent use of gold and geometric patterns) and the Egyptian one (inside the dress are drawn the "Ugiat", sacred eyes and sources of magic fluid in Egypt). The only realistic elements of the work are the face of the woman, her hands and her décolleté. The face of Adele stands out in the middle of the preciousness and richness of the background and expresses a concept so dear to Klimt: the fleetingness of life in opposition to eroticism and beauty. The woman assumes the role of femme fatale, thanks to her light and luminous skin, her cotton hair, her slightly curved and painted red mouth, her intertwined hands, and the collar worn around her neck. This work is considered among the most significant of the "golden age" of Klimt. The intense and insistent use of the gold colour not only illuminates the canvas, but also contributes to enrich the atmosphere in which the protagonist is wrapped, transforming her almost into a goddess.