[60][68] Hubertus Czernin, the Austrian investigative journalist, undertook extensive research in the newly opened archives and published a story about the theft of art by the Nazis; with the subsequent refusal of the Austrian state to return the art or to acknowledge a theft had taken place, Czernin described the situation as "a double crime". [5][6] During the 1890s he was influenced by European avant-garde art, including the works of the painters Fernand Khnopff, Jan Toorop and Aubrey Beardsley. [35][57] Ferdinand left Vienna for his Czechoslovakian castle in March 1938, following the Anschluss of Austria by Nazi Germany. His Viennese residence became an office of Deutsche Reichsbahn, the German railway company, while his castle in Czechoslovakia was taken after the German occupation as the personal residence of the SS-Obergruppenführer Reinhard Heydrich. Altmann. Adele Bloch-Bauer I là tên bức tranh kiệt tác của họa sĩ Gustav Klimt, một họa sĩ theo trường phái biểu hiện, được vẽ năm 1907, miêu tả chân dung bà quý tộc Adele Bloch-Bauer.. Theo các báo cáo thì vào tháng 6 năm 2006, bức tranh đã được bán cho Ronald Lauder với giá kỉ lục 135 triệu USD cho Neue Galerie của ông tại New York. [72][73] To avoid the prohibitively high costs, Altmann and Schoenberg sued the Austrian government and the Galerie Belvedere in the US courts. [41], After exhibition at the Kunstschau, the portrait was hung at the Bloch-Bauers' Vienna residence. [88] In November 2006 the remaining four Klimt paintings were sold at Christie's auction house. Portret Adele Bloch-Bauer II. De nombreuses personnalités du monde artistique fréquente son salon, parmi elles, il est possible d'y croiser Gustav Mahler, Richard Strauss, Alma Mahler ou encore Stefan Zweig et Jakob Wassermann[1]. Eileen Kinsella, the editor of ARTnews, considered the high price was due to several factors, particularly the painting's provenance, the increasing demand for Austrian Expressionism, rising prices in the art world and "Lauder's passion for and pursuit of this particular work". On y découvre une Adele rougissante, aux épaules nues, assise sur un trône stylisé, regardant le spectateur avec vulnérabilité et fierté à la fois, les mains curieusement jointes au premier plan, l'un de ses doigts était déformé, ce qu'elle essayait souvent de dissimuler lors de ses nombreuses séances avec l'artiste qui a créé quelque 200 études pour ce portrait (Kimberly Bradley, 2016). The committee turned down the request, again citing Adele's will as the reason they were retaining the works. [54] The painting was lent for an exhibition at the Vienna Secession in 1928 to mark the tenth anniversary of Klimt's death; in 1934 it was displayed in London as part of the Austria in London exhibition. Sa sœur, Therese Bauer (1874-1961), avait épousé un an auparavant le frère de Ferdinand, le docteur Gustav Bloch[1]. C'était un mariage arrangé mais elle est restée sans enfant, après deux fausses couches et la mort d'un bébé. La « Mona Lisa autrichienne » de Klimt quitte l'Europe pour les États-Unis où elle est désormais exposée à la Neue Galerie à New York. Klimt était un membre de la Sécession viennoise, un groupe d'artistes qui a rompu avec la peinture traditionnelle. [20] Opinion is divided on whether Adele and Klimt had an affair. En 1917, les deux soeurs Bauer ayant épousé les deux frères Bloch, les deux couples décident de se faire appeler désormais les Bloch-Bauer (Shapira, 2009). [n 9] The government formed a restitution committee to report on which works should be returned; government archives were opened up to research into the provenance of works held by the government. [26] Socially well-connected, Adele brought together writers, politicians and intellectuals for regular salons at their home. The Galerie Belvedere based its claim of retention of the Klimt works on Adele's will. Il Ritratto di Adele Bloch-Bauer è un dipinto a olio su tela (138×138 cm) di Gustav Klimt realizzato nel 1907. Az 1925-ben elhunyt Adele végakaratában arra kérte férjét, hogy saját halála után hagyja … Staats-Gallerie in Wien, die mir gehörende Wiener und Jungfer. [19] In the late 1890s Adele met Klimt, and may have begun a relationship with him. Portail de la culture juive et du judaïsme, https://fr.wikipedia.org/w/index.php?title=Adele_Bloch-Bauer&oldid=181727189, Article contenant un appel à traduction en allemand, Article contenant un appel à traduction en anglais, Article de Wikipédia avec notice d'autorité, Portail:Époque contemporaine/Articles liés, licence Creative Commons attribution, partage dans les mêmes conditions, comment citer les auteurs et mentionner la licence, Un film, sorti en 2015, relate le combat de. [44][45] In places the dress merges into the background so much so that the museum curator Jan Thompson writes that "one comes across the model almost by accident, so enveloped is she in the thick geometric scheme". Portrait of Adele Bloch-Bauer I (also called The Lady in Gold or The Woman in Gold) is a painting by Gustav Klimt, completed between 1903 and 1907. [48] In February 1918, Klimt suffered a stroke and was hospitalised; he caught pneumonia due to the worldwide influenza epidemic and died that month.[49]. In September the following year, he moved to neutral Switzerland where he lived in a hotel. Elle est particulièrement connue pour avoir tenu un salon à Vienne et pour avoir été la muse de Gustav Klimt et lui avoir inspiré - au moins - deux portraits. The couple, who had no children, both changed their surnames to Bloch-Bauer. [22] Much of the portrait was undertaken by an elaborate technique of using gold and silver leaf and then adding decorative motifs in bas-relief using gesso, a paint mixture consisting of a binder mixed with chalk or gypsum. For the Blues Pills album, see, There is no agreed view on the dates of the golden period, although the art historian Elizabeth Clegg, writing in, Guests at the salon included the composers, Ferdinand later purchased other works by Klimt. [3] In 1897 he was a founding member and president of the Vienna Secession, a group of artists who wanted to break with what they saw as the prevailing conservatism of the Viennese Künstlerhaus. [33][34][n 4] The Bloch-Bauers purchased some of the sketches he had made of Adele when they obtained 16 Klimt drawings. The painting was stolen by the Nazis in 1941 and displayed at the Österreichische Galerie Belvedere. Her father was the general director of the influential Viennese Bank association and the president of … [99] After he donated over $7 million for the building of the new premises of the Los Angeles Museum of the Holocaust, he said that he had "tried to do good things with the money". Assignés en résidence surveillée, ils prétextent une visite chez le dentiste pour échapper à la vigilance de leurs geôliers. ». [92] The history, as well as other stories of other stolen art, is told by Melissa Müller and Monika Tatzkow in Lost Lives, Lost Art: Jewish Collectors, Nazi Art Theft, and the Quest for Justice, published in 2010. Klimt a mis trois ans pour accomplir cette peinture. After a seven-year legal claim, which included a hearing in front of the Supreme Court of the United States, an arbitration committee in Vienna agreed that the painting, and others, had been stolen from the family and that it should be returned to Altmann. [94] The portrait is featured in the memoir of Gregor Collins, The Accidental Caregiver, about his relationship with Maria Altmann, published in August 2012. La dernière modification de cette page a été faite le 9 avril 2021 à 15:02. Elle épouse en 1899 Ferdinand Bloch (de). Ses parents appartiennent à la bourgeoisie juive viennoise. The art historian Gilles Néret considers that the use of gold in the painting "underlines the essential erotic ingredient in ... [Klimt's] view of the world". [37] Klimt later said that the "mosaics of unbelievable splendour" were a "revelation" to him. Elle dépeint « une scène étonnante à l'huile et à la feuille d'or. It is very meaningful to me that they are seen by anybody who wants to see them, because that would have been the wish of my aunt. Adele, fille d'un banquier de Vienne, fut l'une des muses de Gustav Klimt. [37], Klimt undertook more extensive preparations for the portrait than any other piece he worked on. Following the Anschluss of Austria by Nazi Germany, Ferdinand fled Vienna, and made his way to Switzerland, leaving behind much of his wealth, including his large art collection. Using the records produced by Führer, he traced most of the works to the Galerie Belvedere, and Häuser in Unterach, to Führer's own private collection. [12][13][n 1] Klimt had begun using gold in his 1890 portrait of the pianist Joseph Pembauer,[16] but his first work that included a golden theme was Pallas Athene (1898). In 1912 Ferdinand commissioned a second painting of his wife,[22] in which "the erotic charge of the likeness of 1907 has been spent", according to Whitford. [1] He attended the Vienna School of Arts and Crafts (German: Kunstgewerbeschule Wien) before taking on commissions with his brother, Ernst, and a fellow-student Franz von Matsch from 1879. The Act granted immunity to sovereign nations except under certain conditions. [2] Over the next decade, alongside several private commissions for portraiture, they painted interior murals and ceilings in large public buildings, including the Burgtheater, the Kunsthistorisches Museum and the ceiling of the Great Hall at the University of Vienna. [77][78], To avoid returning to the courts in what could have been lengthy litigation process, arbitration in Austria was agreed upon by both parties, although the Austrians had turned down such a move in 1999. [59][71], In March 2000 Altmann filed a civil claim against the Austrian government for the return of the paintings. Ferdinand prend la fuite, tout d'abord en Tchécoslovaquie puis à Zurich en Suisse où il meurt en 1945, peu de temps après la fin de la guerre. Les portraits d'Adèle et bien d'autres œuvres de Klimt se trouve au Musée du Belvédère pendant de nombreuses années[1]. [28][45][46] Also present are decorative motifs on the theme of the letters A and B, the sitter's initials. [88][90], The history of the Portrait of Adele Bloch-Bauer I and the other paintings taken from the Bloch-Bauers has been recounted in three documentary films, Stealing Klimt (2007), The Rape of Europa (2007) and Adele's Wish (2008). [36][37][35] Lenz later wrote that "the mosaics made an immense decisive impression on ... [Klimt]. [28] Whitford identifies influences of the art of the Byzantine, Egypt, Mycenae and Greece, describing that "the gold is like that in Byzantine mosaics; the eyes on the dress are Egyptian, the repeated coils and whorls Mycenaean, while other decorative devices, based on the initial letters of the sitter's name, are vaguely Greek". [23], Adele's parents arranged a marriage with Ferdinand Bloch, a banker and sugar manufacturer; Adele's older sister had previously married Ferdinand's older brother. Ferdinand gave her Adele's jewelled choker as a wedding present. Celui-ci est sans appel et ordonne la restitution des œuvres à Maria Altmann[3]. [59][60] The Bloch-Bauer family hired Dr Gustav Rinesh, a Viennese lawyer, to reclaim stolen artwork on their behalf. Although there were calls from some Austrians for the state to purchase the five paintings, the government stated that the price would be too high to justify the expense. Povijest. Schoenberg was the son of a woman she had been friends with since they lived in Vienna. Adele Bloch-Bauer era la esposa de Ferdinand Bloch-Bauer, un rico industrial del azúcar que patrocinó las artes y en especial a Gustav Klimt. Adele Bloch-Bauer je preminula od meningitisa 1925. godine i u svojoj oporuci je preporučila suprugu da slike donira Nacionalnoj galeriji Austrije.Kada je Nacistička Njemačka anektirala Austriju 1938. godine, Ferdinand Bloch-Bauer je pobjegao u Prag i naposlijetku završio u Zurichu.Većina njegove imovine je opljačkana, a slika je završila u Nacionalnoj galeriji Belvedere u Beču 1941. god. [98] Schoenberg, who had worked on a 40 per cent conditional fee throughout, received $54 million for the sale of Portrait of Adele Bloch-Bauer I and $55 million for the sale of the remaining four paintings. Ownership. Adele Bloch-Bauer era a esposa de Ferdinand Bloch-Bauer, um abastado industrial que … O Retrato de Adele Bloch-Bauer I é uma pintura de Gustav Klimt completada em 1907.Foi vendida em junho de 2006, a Ronald Lauder, proprietário da Neue Galerie em Nova Iorque, por 135 milhões de dólares, tendo sido, na época, a segunda pintura mais cara do mundo. Portrait of Adele Bloch-Bauer I (also called The Lady in Gold or The Woman in Gold) is a painting by Gustav Klimt, completed between 1903 and 1907.The portrait was commissioned by the sitter's husband, Ferdinand Bloch-Bauer [], a Jewish banker and sugar producer.The painting was stolen by the Nazis in 1941 and displayed at the Österreichische Galerie Belvedere. a request rather than a binding testament. L'arrière-plan du tableau est une luxuriante éruption de symboles orientaux et érotiques scintillants - triangles, yeux, œufs[2]. In his absence the Nazi regime falsely accused him of evading taxes of 1.4 million Reichsmarks. Rien ne vint jamais étayer les rumeurs autour de leur relation supposée[1]. [80][81][n 13], After the panel's decision was announced, the Galerie Belvedere ran a series of advertisements that appeared in bus stops and on underground railway platforms. Un autre indice de leur relation amoureuse se trouve peut être dans une autre toile peinte en 1901 par l'artiste. Portrait of Adele Bloch-Bauer I (also called The Lady in Gold or The Woman in Gold) is a painting by Gustav Klimt, completed between 1903 and 1907. That autumn, following the Munich Agreement, he realised he was not safe and left for Paris. Adele Bloch-Bauer was the only person whose portrait was painted twice by Klimt; she also appeared in the much more famous Portrait of Adele Bloch-Bauer I.Adele's portraits had hung in the family home prior to their seizure by the Nazis during World War II. Euro), den bis dahin höchsten Preis, der je für ein Gemälde gezahlt wurde, von dem US-amerikanischen Unternehmer Ronald Lauder für die von ihm gegründete Neue Galerie in Manhattan (New York) erworben. [72][76][n 11] In June 2004 the Supreme Court determined that the paintings had been stolen and that Austria was not immune from a claim from Altmann; the court made no comment on the current ownership of the paintings. [39][n 6] According to the art historian Tobias G. Natter, some critics disapproved of the loss of the sitter's individuality, while others "accused Klimt of endangering the autonomy of art". Adele Bauer est la sixième enfant d'une fratrie qui en comptera sept. Elle naît à Vienne, le 9 août 1881. One of Ferdinand's nieces, Maria Altmann, hired the lawyer E. Randol Schoenberg to make a claim against the gallery for the return of five works by Klimt. Adele died in 1925; her will asked that the artworks by Klimt were to be left to the Galerie Belvedere, although these belonged to Ferdinand, not her. [50][51] The will included a reference to the Klimt works owned by the couple, including the two portraits of her: Meine 2 Porträts und die 4 Landschaften von Gustav Klimt, bitte ich meinen Ehegatten nach seinem Tode der österr. [n 7] Several other Nazi leaders, including Hermann Göring, the Commander-in-Chief of the Luftwaffe, also obtained works from the collection. Ferdinand's brother Gustav, a lawyer by training, helped her frame the document and was named as the executor. ")[52][53], In February 1925 Adele died of meningitis. Gustav meurt quinze jours plus tard d'une attaque cardiaque. [29][30], In 1901 Klimt painted Judith and the Head of Holofernes; the art historian Gottfried Fliedl observes that the painting is "widely known and interpreted as Salome". [41], In 1908 the portrait was exhibited at the Kunstschau in Vienna where critical reaction was mixed. Formant un carré de 138 centimètres de côté, elle est peinte sur une toile avec de la peinture à l'huile, ainsi que de l'or et de l'argent, qui mettent en valeur l'ornement raffiné et complexe comme on le retrouve dans l'Art nouveau allemand, le Jugendstil.
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