[Via NEUE Galerie]
Set to hit theaters in April, Woman in Gold is a multi-layered story of Holocaust refugee Maria Altmann's quest to reclaim Klimt's portraits of her aunt, most famously the first work, Adele Bloch-Bauer I from 1907. The movie deals with Nazi-seized art, and more broadly the Nazis' attempts to erase an entire culture (when taken, the portrait's original title, Adele Bloch-Bauer I, was eerily changed to Dame in Gold, obscuring Adele and her Jewish identity). While the plot centers on Altmann's legal battles, the film will likely generate even more interest in Adele -- as art patron and muse -- as well as in Klimt, his golden period, and early 20th-century Vienna.
But in the meantime, new opportunities to see Klimt's work and other examples of Klimt-era Viennese opulence are available across the U.S.
Gustav Klimt’s "Adam and Eve" opens at the MFA, Boston January 17. On loan from the Belvedere Museum in Vienna, and completed between 1917-18, this is the first piece by Klimt to go on view at the MFA. There will be a related five-week course, A Golden Age in the World of Gustav Klimt, but each session is scheduled during a weekday afternoon.
Klimt’s Adele Bloch-Bauer II, a sort of companion to the better-known portrait now owned by NEUE Galerie, was done in 1912 and is currently on loan to MoMA.
Modern Opulence in Vienna: The Wittgenstein Vitrine remains on view at the Dallas Museum of Art through October 18, 2015.
And some links from my past posts:
A 2008 video from Tate Liverpool filmed in conjunction with Gustav Klimt: Painting, Design and Modern Life in Vienna 1900, this installment of TateShots includes decorative arts and paintings.
|[Screengrabs from Jona Frank's mini film]|
Erica Tanov takes inspiration from Klimt, here, while curator Gemma Blackshaw talks about another woman in a luminous portrait by Klimt in this podcast.