“…he let them rigidify to a certain extent and almost turn them into artificial pieces of jewelry, just as if – amongst nothing but jewels – they had been transformed and forged into jewels themselves.” – Franz Servaes (1917/18)
To be adorned in gold is something most women dream of. To have your figure be the symbol of beauty. To be the object of admiration and desire. And, most importantly, to have your face hang in a museum, surrounded by other works of art.
That is how Gustav Klimt treated the women he painted throughout his career–with a love and care rare among male painters of his time. Unlike other 19th-century artists, Gustav Klimt focused mainly on women in his work, with the majority of male figures appearing during his early career. He based several of his pieces on female family members, indicating his fervent affection for them. Family meant a lot to Klimt, which is why he surrounded them in gold.
The golden era of Gustav Klimt lasted roughly a decade and produced some of the most influential and iconic works of art, especially in his portrayal of women throughout art history. He created several celebrated pieces, like The Kiss, The Three Ages of Women, Judith and the Head of Holofernes, and the painting with the most gold incorporated, Portrait of Adele Bloch-Bauer. Each painting of his holds a story.
The Golden Era – Early Works
Pallas Athene of 1898 is such a fascinating piece in many ways. For one, it was one of his first depictions using gold leaf, prior to his “golden era.” In Greek mythology, Athena is depicted as a warrior, which is why Klimt portrayed her in her gilded armor with a weapon brandished at her side–initially giving off masculine energy. However, when you look more closely at the painting, you notice she is holding a nude woman standing in a T-position. Now, there is no way to truly know what the intent was with this inclusion, but I see it as a way of balance–weapon on her left, femininity on her right. A way of depicting the androgynous nature that is the myth of Athena.
One of his famous works, Judith and the Head of Holofernes (1901), also known as Judith I, is another depiction of a strong female heroine from a historical myth. The story of Judith appears in the Old Testament, where she is portrayed as a Jewish widow who defeated the Assyrian general Holofernes by using her beauty and cunning. To match Judith’s femme fatale, Adele Bloch-Bauer, a Viennese socialite, sat as the model. She is seen holding the head of Holofernes, indicating victory over him with pleasure written all across her face–iconic if you ask me.
Despite this painting, The Three Ages of Women (1905), having the least amount of gold, it is still a significant piece in Klimt’s Golden Era. This painting tells the story of three different women at three different stages of their lives. A child embraced by her mother, with a sorrowful old woman turned toward them, symbolizing the passage of time in every woman’s life. The original version of this piece featured more gold leaf, but Klimt covered it with black to enhance the painting’s emotional impact.
The Height of the Golden Era
In 1907, Gustav Klimt painted the most gilded portrait of his entire golden era collection. This painting is of Adele Bloch-Bauer, and, fittingly, called Portrait of Adele Bloch-Bauer (1907). Adele is the only woman Klimt has ever painted twice, which caused speculation of a love affair between the two. If the affair rumors were true, it would make it extremely awkward since her husband, Ferdinand Bloch-Bauer, commissioned the piece from Klimt. Unlike her depiction in Judith I, she is seen here with a softer expression, revealing a more delicate, feminine side. Sadly, this painting and several other works of Gustav Klimt were seized by the Nazis during World War II, but were then given back to the families in the early 2000’s. This painting now hangs in the Neue Gallery of New York at the wishes of Adele’s family.
The Kiss (1907/1908) is arguably the most popular painting in Klimt’s entire golden era collection and is one of my personal favorites. This painting was my entrance into Gustav Klimt’s work, so it holds a special place in my heart. A rare male figure appears in this painting, but it plays a significant role in the piece’s meaning. You can see the blocks of black and gray patterned on the male figure, indicating a masculine rigidity that contrasts with the female figure, whose dress and hair are adorned with colorful floral motifs. Neither energy is overpowering the other, but they exist in perfect balance.
The Final Portrait
Gustav Klimt completed his last portrait in 1918, just before he died. This painting takes on a different approach, differing from his previous gold pieces. The Lady with a Fan is reminiscent of a Japanese style that Klimt often admired, with its ornate detailing and vibrant flora and fauna patterns. The yellow background acts as a call-back to his previous gold works. Yet it is neither distracting nor detracting from the beauty of the model. Rather, it complements her and highlights her, as Klimt did in all his women-centered artwork. A way of showing the beauty of the woman and the world around her. The final sentence in the golden chapter.
Klimt’s Impact:
Klimt was fascinated by the female form–and rightfully so! His deep affection for women is seen in the way he paints and envelops them in gold. He saw such beauty in women that was not appreciated during that time in history. In fact, his work was sometimes considered pornographic due to the sensual tone of some paintings. The life of a woman boiled down to a nuisance or a sexual desire. It’s hard to praise a man for doing something as simple as appreciating the beauty of another human being, but I will always respect him for being a leader in changing how women are represented in art.
