[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. [18], Adele Bauer [de] was from a wealthy Jewish Viennese family. Assignés en résidence surveillée, ils prétextent une visite chez le dentiste pour échapper à la vigilance de leurs geôliers. [69], Altmann, then living in the US, hired E. Randol Schoenberg to act on her behalf. [94] The portrait is featured in the memoir of Gregor Collins, The Accidental Caregiver, about his relationship with Maria Altmann, published in August 2012. The Act granted immunity to sovereign nations except under certain conditions. Il a bien essayé d'obtenir la restitution de ses œuvres d'art mais toutes ses démarches furent vaines. La même année, lorsque la monarchie austro-hongroise est dissolue, les époux Bloch-Bauer prennent la nationalité tchécoslovaque sur base de leur propriété[Note 4] près de Prague bien que leur résidence principale restât à Vienne[1]. 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. [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. [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". Elle avait pour habitude de fumer ce qui seyait mal, à cette époque, à une dame de son rang[1]. [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. In January 1939 he convened a meeting of museum and gallery directors to inspect the works and to give an indication of which they would like to obtain. 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. The portrait was commissioned by the sitter's husband, Ferdinand Bloch-Bauer [de], a Jewish banker and sugar producer. cuckoldry". En plus des deux portraits d'Adele, les Bloch-Bauer[Note 3] acquièrent quatre tableaux de paysages et de nombreux dessins de l'artiste qui meurt en 1918. D'autres oeuvres d'artistes ornent les murs de la riche demeure dont Ferdinand Georg Waldmüller, Rudolf von Alt ou encore Emil Jakob Schindler[1]. Povijest. Son visage pouvait paraître élégant, intellectuel mais également arrogant et suffisant. On 19 January 1923 Adele Bloch-Bauer wrote a will. [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. Il montent à bord d'un avion pour Cologne et de là, ils parviennent à franchir la frontière pour arriver aux Pays-Bas d'où ils émigrent aux États-Unis pour s'installer en Californie[3]. Het schilderij "Adèle Bloch-Bauer I" werd in juni 2006 volgens de New York Times voor de recordprijs van 135 miljoen dollar (107 miljoen euro) verkocht. [97], Altmann died in February 2011, aged 94. [7] Klimt in particular challenged what he saw as the "hypocritical boundaries of respectability set by Viennese society";[8] according to the art historian Susanna Partsch, he was "the enfant terrible of the Viennese art scene, [and] was acknowledged to be the painter of beautiful women". [17] Néret also states that Klimt used the gold to give subjects a sacred or magical quality. Das Bildnis Adele Bloch-Bauer I, auch „Goldene Adele“ genannt, ist ein Gemälde von Gustav Klimt . Whitford writes that the only evidence put forward to support the theory is the position of the woman's right hand, as Adele had a disfigured finger following a childhood accident. [3][4], Klimt worked in Vienna during the Belle Époque, during which time the city made "an extreme and lasting contribution to the history of modern art". The Austrian government filed for dismissal, with arguments based on the Foreign Sovereign Immunities Act (1976). Three arbitrators formed the panel, Andreas Nödl, Walter Rechberger and Peter Rummel. [35] In 1936 Ferdinand gave Schloss Kammer am Attersee III to the Österreichische Galerie Belvedere; he later acquired a further Klimt painting, the Portrait of Amalie Zuckerkandl (1917–1918). Az 1925-ben elhunyt Adele végakaratában arra kérte férjét, hogy saját halála után hagyja … 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. "[85] In June 2006 the Portrait of Adele Bloch-Bauer I was sold to Ronald Lauder for $135 million, at the time a record price for a painting. [43][87][88], Michael Kimmelman, the chief art critic for the New York Times, was critical of the sale, and wrote that "A story about justice and redemption after the Holocaust has devolved into yet another tale of the crazy, intoxicating art market. [37] Klimt later said that the "mosaics of unbelievable splendour" were a "revelation" to him. 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. Son père, Moritz Bauer (1840-1905), est le directeur général de la « très influente » banque de Vienne, la Wiener Bankverein (de), il est également président de la société des Chemins de fer Orientaux qui gère l'Orient-Express, il épouse Jeanette Honig (1844-1922) vers 1869[1]. [27] In 1903 Ferdinand purchased his first Klimt work from the artist, Buchenwald (Beech Forest). [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". Portret Adele Bloch-Bauer I, zwany też „Złotą Adelą”, jest obrazem autorstwa Gustava Klimta (1862-1918). 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. [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). The painting has been on display at the location since. Målningen är utställd på Neue Galerie i New York.Klimt porträtterade samma kvinna 1912, en målning som kallas Porträtt av Adele Bloch-Bauer II.Den är idag i privat ägo. Leur fille, Maria Altmann qui avait épousé un ténor, Frederick (Fritz) Altmann en 1937, décide de fuir avec son mari. The portrait is the final and most fully representative work of Klimt's golden phase. Elle était d'une santé fragile et donnait régulièrement l'impression d'être une personne en souffrance. Après une assez longue procédure administrative et judiciaire, la demande de restitution est tranchée par un tribunal arbitral à Vienne. [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". Schoenberg was the son of a woman she had been friends with since they lived in Vienna. 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. "Neue Galerie New York Agrees to Acquire Spectacular Klimt Painting, "New York: Staged Reading: The Accidental Caregiver (presented by the ACF New York)", "Six Klimt paintings – Maria Altmann and Austria", Austrian Arbitral Award, "Maria V. Altmann and others v. Republic of Austria", 6 May 2006, Klimt University of Vienna Ceiling Paintings, https://en.wikipedia.org/w/index.php?title=Portrait_of_Adele_Bloch-Bauer_I&oldid=1014962117, Pages using multiple image with auto scaled images, Pages containing links to subscription-only content, Articles with dead external links from May 2020, Articles with permanently dead external links, Articles with German-language sources (de), Wikipedia articles with SUDOC identifiers, Wikipedia articles with WorldCat-VIAF identifiers, Creative Commons Attribution-ShareAlike License, This page was last edited on 29 March 2021, at 23:38. Sa sœur, Therese Bauer (1874-1961), avait épousé un an auparavant le frère de Ferdinand, le docteur Gustav Bloch[1]. Ownership. [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. Klimt a mis trois ans pour accomplir cette peinture. ")[52][53], In February 1925 Adele died of meningitis. [41], The painting measures 138 by 138 cm (54 by 54 in);[42][n 5] it is composed of oil paint and silver and gold leaf on canvas. Leur biens, leurs œuvres d'art, le violoncelle Stradivarius auquel Gustav tenait tant, sont saisis. Adele, fille d'un banquier de Vienne, fut l'une des muses de Gustav Klimt. En 1938, lors de l'Anschluss, l'Autriche est annexée au Reich allemand sans coup férir. [102], "Woman in Gold" redirects here. Retrato de Adele Bloch-Bauer II (em Bildnis der Adele Bloch-Bauer II é uma pintura a óleo sobre tela do pintor simbolista austríaco Gustav Klimt, datada de 1912. 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. 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". 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. It made no reference to the pictures, which he thought had been lost forever, but it stated that his entire estate was left to his nephew and two nieces—one of whom was Maria Altmann. Adele Bloch-Bauer II sold for $87.9 million, Apfelbaum I for $33 million, Buchenwald for $40.3 million and Häuser in Unterach am Attersee for $31 million. Gustav meurt quinze jours plus tard d'une attaque cardiaque. [59][60] The Bloch-Bauer family hired Dr Gustav Rinesh, a Viennese lawyer, to reclaim stolen artwork on their behalf. [61][62] Göring also used the Führervorbehalt decree to obtain the jewelled choker that had been given to Maria Altmann; it was given as a gift to Emmy, his wife. In 1910 he obtained. Staats-Gallerie in Wien, die mir gehörende Wiener und Jungfer. [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". [33] For Whitford the effect of the gold background is to "remove Adele Bloch-Bauer from the earthly plane, transform the flesh and blood into an apparition from a dream of sensuality and self-indulgence"; he, and Thomson, consider the work to look more like a religious icon than a secular portrait. [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]. Je me souviens d'elle comme étant extrêmement élégante, grande, brune et mince. Altmann. L'année suivante, Adèle élabore ses dispositions testamentaires. a request rather than a binding testament. Celui-ci est sans appel et ordonne la restitution des œuvres à Maria Altmann[3]. [9] By 1900 he was the preferred portrait painter of the wives of the largely Jewish Viennese bourgeoisie,[3][10] an emerging class of self-made industrialists who were "buying the innovative new art that state museums rejected", according to the journalist Anne-Marie O'Connor. [96] In 2015 Altmann's story was dramatised for the film Woman in Gold starring Helen Mirren as Maria and Ryan Reynolds as Schoenberg. Le salon Klimt est transformé en mémorial pour perpétuer son souvenir[1]. En 1903, Ferfinand Bloch-Bauer lui adresse un courrier dans lequel il demande au peintre de réaliser un portrait de sa femme afin de l'offrir à ses beaux-parents pour leur anniversaire. [38] The Ravenna mosaics also attracted the attention of other artists who provided illustrations of the work, including Wassily Kandinsky in 1911 and Clive Bell in 1914. [60][65] Ferdinand died in Switzerland in November that year. je slavno secesijsko ulje na platnu austrijskog slikara Gustava Klimta iz 1912. godine na kojoj je naslikan portret Adele Bloch-Bauer (1881.–1925. 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". Ferdinand et Adele ne parviennent pas à avoir d'enfant. His assets were frozen and, in May 1938, a seizure order was issued that allowed the state to dispose of his property as they felt fit. [82] The paintings were exported from Austria in March 2006 and exhibited together at the Los Angeles County Museum of Art from April to June that year. Elle fait deux fausses couches et ils perdent un enfant en bas-âge[2]. Le docteur Julius Tandler (en) est également un hôte de marque qui devient le médecin d'Adèle. [1] A obra encontra-se em exibição permanente na dita galeria, desde julho de 2006. « une scène étonnante à l'huile et à la feuille d'or. [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. The lawyer acting on behalf of the German state gave the portrait to the Galerie Belvedere, claiming he was following the wishes Adele had made in her will. [54] Shortly afterwards Gustav filed for probate; he included a document that stated that the clause in the will was precatory, i.e. [22] Whitford observes that some of the preliminary sketches that Klimt made for The Kiss showed a bearded figure which was possibly a self-portrait; the female partner is described by Whitford as an "idealised portrait of Adele". 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. Propiedad de la pintura. Portræt af Adele Bloch-Bauer I (også kendt som Damen i guld eller Kvinden i guld) er et maleri fra 1907 af Gustav Klimt, det første af to portrætter Klimt malede af Adele Bloch-Bauer.Det bliver omtalt som det endelige og mest repræsentative af værkerne fra hans gyldne periode.. Adele Bloch-Bauer (1881–1925) var et rigt medlem af Wiens borgerskab, mæcen for og nær ven af Gustav Klimt. [3], Adele's hair, face, décolletage and hands are painted in oil; they make up less than a twelfth of the work and, in Whitford's opinion, convey little about the sitter's character. It was the first of two depictions of Adele by Klimt—the second was completed in 1912; these were two of several works by the artist that the family owned. Il est de dix-sept ans son aîné. Adele Bloch-Bauerová: multimediální obsah na Commons: Některá data mohou pocházet z datové položky. Il Ritratto di Adele Bloch-Bauer è un dipinto a olio su tela (138×138 cm) di Gustav Klimt realizzato nel 1907. [31] Adele was the model for the work,[32] and wore a heavily jewelled deep choker given to her by Ferdinand, in what Whitford describes as "Klimt's most erotic painting". From this comes the resplendence, the stiff decoration of his art". Le frère de Ferdinand Bloch-Bauer, Gustav et sa femme, Thérèse Bloch-Bauer, la sœur d'Adèle sont également dans la tourmente. Adele Bloch-Bauer was born in Vienna on August 9, 1881, the youngest daughter of the seven children of the banker Moritz Bauer (1840–1905) and Jeannette Bauer née Honig (1844–1922). The portrait is the final and most fully representative work of Klimt's golden phase. La mère d'Adèle, Jeanne Bauer-Honig, meurt en 1922. [63], In December 1941 Führer transferred the paintings Portrait of Adele Bloch-Bauer I and Apfelbaum I to the Galerie Belvedere in return for Schloss Kammer am Attersee III, which he then sold to Gustav Ucicky, an illegitimate son of Klimt. Portretul Adelei Bloch-Bauer I (pronunție: /prɪːmul portret al adeleɪ blɔːh bauər/; în engleză: Portrait of Adele Bloch-Bauer I, The Lady in Gold sau The Woman in Gold; cunoscut în română și ca „Doamna în Aur” sau „Femeia în Aur”) este un tablou pictat de Gustav Klimt între anii 1903 și 1907.