“Adele Bloch-Bauer I” de Gustav Klimt (1907), portrait d'Adèle Bloch-Bauer, un des 5 tableaux spoliés à sa famille, restitués par le gouvernement autrichien en 2006 à Maria Altmann née Maria Victoria Bloch (1916-2011).
Gustav Klimt Is an absolute icon to me in the symbolic art world and would be a dream to see some of his works
This painting done in 1907 by Gustav Klimt “Portrait of Adele Bloch-Bauer” is now valued at 135 million. “I can paint and draw. I believe this myself and a few other people say they believe this too. But I’m not certain of wether it’s true.”
- Gustav Klimt by _kirstie_kirst https://instagram.com/p/5sI8RFGZD4/
“She can perceive for herself what the rest of her life will hold. The opportunities she had dreamed of as a young girl were going to be denied.”
A peak behind the true story of Adele Bloch-Bauer who was immortalised in two portraits by Gustav Klimt, the most popular of which has come to be known as the Woman in Gold. Delicate storytelling by Susan Stamberg over at NPR.
Sixty years after she fled Vienna during World War II, an elderly Jewish woman, Maria Altmann, starts her journey to retrieve family possessions seized by the Nazis, among them Klimt’s famous painting Portrait of Adele Bloch-Bauer I. Together with her inexperienced but plucky young lawyer Randy Schoenberg, she embarks upon a major battle which takes them all the way to the heart of the Austrian establishment and the U.S. Supreme Court.
The film is based on the true story of the late Maria Altmann, an elderly Jewish refugee living in Cheviot Hills, Los Angeles, who, together with her young lawyer, Randy Schoenberg, fought the government of Austria for almost a decade to reclaim Gustav Klimt’s iconic painting of her aunt, Portrait of Adele Bloch-Bauer I, which was stolen from her relatives by the Nazis in Vienna just prior to World War II. Altmann took her legal battle all the way to the Supreme Court of the United States, which ruled in case Republic of Austria v. Altmann (2004). at B226 Meja Bundar – View on Path.
Gustav Klimt, A Jewish Shopkeeper, And Nazi Thugs: The Real Story Behind The Woman In Gold
To art critics, it is Gustav Klimt’s worst painting, an inexcusable foray into kitsch. To countless art lovers, it is a romanticized and idealized portrait of a beautiful and sensual woman. But to Maria Altmann, an elderly Jewish shopkeeper played in the new film Woman In Gold by Helen Mirren, portrait of Adele Bloch-Bauer, was a stolen precious family memento she was determined to win back: the dark-eyed beauty engulfed in a shimmery sea of gold was her glamorous and beloved aunt.
The portrait perfectly captures the essence of Adele Bloch-Bauer and her privileged, but tragic, life. When the viewer first sets eyes upon it, they are mesmerized by the elegance of the sitter and the opulence of her surroundings. But, upon closer inspection, signs that not everything is well are evident. Her eyes, heavy-lidded and dark, are sad. They show the truth: Adele is trapped in a gilded case.
Adele never had the chance to further her education or make her own mark in the world. At the age of 18, she married the man her family had chosen for her. Ferdinand Bloch was a prominent Jewish Viennese businessman (he had made his fortune in sugar) nearly twice her age. With him, she lived a life of leisure. She had servants catering to her every need, and attended the opera and art shows clad in glamorous, bespoke creations.
But a woman’s main purpose, back then, was to raise a family. Even this was denied to Adele. She suffered two miscarriages and finally gave birth to a son, only to watch him die shortly afterwards. She never had any more children. Instead, she found solace in the only endeavor open to women of her social standing: hosting a salon. Here, she mingled with the most influential political, intellectual, and artistic figures of her day, such as Gustav Klimt.
It was Ferdinand who commissioned the famous artist to paint a portrait of his then 22-year-old wife. Klimt set to work straight away, but it would take him four years to finish the work, which was layered in gold and silver leaf. The sitter sits in a throne-like chair, a gem-encrusted choker around her neck.
She’s clad in a sumptuous gown covered in geometric patterns inspired by the mosaics Klimt had seen in Ravenna. It was a creation of Emilie Floge, a Viennese seamstress and close friend of Klimt, who, sometimes, designed alongside her. Floge creations had comfortable, wide sleeves, and hung loosely from the shoulders. More shockingly, they didn’t require a corset. Too revolutionary for their time, they didn’t sell well. But they live on in Klimt’s artworks and, more recently, their geometric and bohemian prints have inspired Valentino’s fall 2015 collection.
Klimt had made sure that Adele, who died of meningitis at the young age of 43, would live on forever in his art as well. But the Nazi had other ideas. When the party rose to power, the Bloch Bauer family, including Maria, escaped death by fleeing to the United States. But they were forced to leave many of their treasures, including Adele’s portrait, behind.
The Nazis looted their house and stole them. In the early 1940s, they decided to put the painting of Adele on display. But they faced a problem. They knew the sitter was Jewish, which, in their eyes, made the painting unsuitable to be exhibited. So, they changed its name. Portrait of Adele Bloch-
Bauer was given the more anonymous name of Woman In Gold. Adele’s identity had been effaced.
After the end of World War II, Woman in Gold ended up at the Belvedere art gallery in Vienna. It remained there for six decades before Altmann returned to claim it. The Belvedere, which considered The Portrait of Adele Bloch Bauer the Viennese Mona Lisa had no intention of giving it back. Using a flimsy piece of evidence, they claimed Adele had bequeathed the painting to the Belvedere shortly before her death.
Maria, with the help of Ronald Schoenberg, a young attorney and grandson of émigré composer Arnold Schoenberg, sued the Austrian government for the return of all the five Klimt paintings, including the famous portrait of her aunt, the Nazi had seized from her family. A long, difficult legal battle ensued. In the end, Maria won.
Her story is now told in Women In Gold, a movie starring Helen Mirren and Ryan Reynolds. Gustav Klimt and Adele Bloch-Bauer: The Woman In Gold, a special exhibition, is held at the Neue Gallery until September 7, 2015.
It’s often best to break from studying by immersing oneself in a movie. Last night’s choice was none other than “The Lady In Gold” based on the true story of Maria Altmann’s successful legal campaign to reclaim not one but five paintings by the (insert amazing adjective of your choice HERE) artist Gustav Klimt. One of those paintings was “Portrait Of Adele Bloch-Bauer” who was, for BonusPoints, Ms. Altmann’s aunt.
You know it’s an inspiring watch when you find it necessary to pause the film in an effort to find a PEN so you can write a good quote down on paper when you hear it. So I did. Ready? Go.
“One day you will have to stop being so timid. Life will demand it of you.”
Is that true or what? Show of hands who has grasped this one yet. I wonder if Aunt Adele really said that or if it was simply a highly appropriate bit of dialogue added in for effect. A rhetorical question most likely. I wonder if Judson has to watch English movies with Korean subtitles? I should ask him that.
Maria Altmann, née en Autriche dans une famille juive aisée, a grandi entourée d'oeuvres d'art dont quelques Klimt. Normal lorsque l'un de ses tableaux les plus célèbres (un moment connu sous le nom de “La femme en or”) n'est autre que le portrait d'Adele Bloch-Bauer, la tante de Maria. Ces oeuvres tout comme un bon nombre d'objets personnels ont connu un bien triste sort : volés par les nazis, ils se sont retrouvés dans les salons d'Hitler, au cou de la femme de Goering ou bien sur les murs du musée du Belvédère à Vienne. Jusqu'à ce que Maria veille récupérer ses biens…
“La femme au tableau” raconte l'histoire de la bataille judiciaire entre la vielle dame spoliée et l'état autrichien, inflexible et sourd à ses revendications et demande de restitution.
Même si le film ne brille pas par sa mise en scène, il met en avant une juste cause : le retour à leurs légitimes propriétaires de tableaux et autres splendeurs. Avec en prime, la personnalité pétillante de Maria Altmann qui a dû attendre 68 ans avant de récupérer un peu de son histoire.
Pourquoi faire sortir en salles un film splendide comme “La femme au tableau” en début de période de vacances ? Si vous le pouvez, allez le voir, vous ne serez probablement pas déçu !
Venu du théâtre, le réalisateur anglais Simon Curtis a dirigé les plus grands artistes britanniques à la télé (Maggie Smith, Ian Mc Kellen, Judi Dench…) avant de se faire remarquer au cinéma avec My week with Marylin (2011). C’est en regardant un documentaire de la BBC sur Maria Altmann qu’il a conçu son 2ème film, tourné en huit semaines à Vienne, Londres et Los Angeles.
Les huit années du combat juridique mené par Maria Altman et son jeune avocat, Randol Schœnberg, pour récupérer cinq tableaux de Klimt volés par les nazis à sa famille et légués après la guerre à l’Etat autrichien dans des conditions testamentaires troubles. Parmi ces œuvres, le célébrissime “Portrait d’Adele Bloch-Bauer” (la tante de Maria) devenu “La Dame en or”, titre original du film.
- Un film en tout point admirable : didactique sans être pesant, sensible sans être larmoyant, instructif sans être ennuyeux, esthétiquement beau.
- Un casting remarquable jusque dans les seconds rôles tel Justus von Dohnányi en représentant de l’Etat autrichien borné et méprisant “qu’on aime haïr” à l’instar d’Eric von Stroheim en son temps. Et bien sûr Helen Mirren, aussi magistrale dans ce récit instructif qu’elle fut royale dans The Queen de Stephen Frears (2006) en vieille femme tour à tour malicieuse, entêtée, exaspérante, bouleversante…
- Maria Altmann (décédée en 2011 à 94 ans) a obtenu du magnat des cosmétiques Ronald Lauder à qui elle vendit ses tableaux une fois récupérés qu’il les laissât visibles au grand public. Randol Schoenberg a ouvert un cabinet d’avocats spécialisé dans la restitution des œuvres d’art avant de financer une nouvelle aile du musée de (…)lire la suite sur Atlantico
Born in 1862, Austrian painter Gustav Klimt became known for the highly decorative style and nature of his works, which were seen as a rebellion against the traditional academic art of his time. His most famous paintings are The Kiss and Portrait of Adele Bloch-Bauer.