List of paintings by Gustav Klimt

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This is a list of paintings by Gustav Klimt (1862–1918). It is believed that Klimt painted over 200 paintings, of which over 160 are known. [1]

Contents

List of paintings by Gustav Klimt

Early works

ImageTitleYearMediumLocationNotes
Klimt - Klara Klimt, circa 1880.jpg
Klara Klimt [2] c.1880 Oil on canvas, 30.3 cm × 21.3 cm Leopold Museum, Vienna Klara Klimt (1860 – 1937) was the oldest of Gustav’s six siblings and they shared an apartment with their sister Hermine until Gustav’s death in 1918. The painting shows Klara around the age of 20 and Klimt painted it while studying at the Vienna School of Arts and Crafts. It is exhibited on permanent loan from a descendant of Klimt. [2]
Klimt - Waldboden.jpg
Forest Floor [3] 1881/1882Oil on canvas, 10 cm × 8 cmLeopold Museum, Vienna
Gustav Klimt - Mannlicher Akt - 5992 - Osterreichische Galerie Belvedere.jpg
Male Nude [4] 1883Oil on canvas, 68 cm × 54.8 cm Österreichische Galerie Belvedere, Vienna
Sitting Nude Man Turned to the Left Klimt.jpg
Sitting Nude Man Turned to the Left [5] 1883Oil on canvas, 46 cm × 37 cmLeopold Museum, ViennaThe painting was dated by Klimt himself, painted during his time as a student at the Vienna School of Arts and Crafts. [5]
Klimt - Fabel.jpg
Fable [6] 1883Oil on canvas, 83.5 cm × 116 cm Vienna Museum, Vienna
Studienkopf einer Hannakin.jpg
Head Study of a Girl from Haná [7] c.1883Oil on wood, 28.6 cm × 22.7 cmLeopold Museum, ViennaThis small painting is undated, however, it is presumed that it was created when Gustav Klimt was still a student. [7]
Idylle (Idylls).jpg
Idyll [8] 1884Oil on canvas, 49.7 cm × 74 cmVienna Museum, Vienna
Gustav Klimt - Entwurf fur die Allegorie der Musik (Orgelspielerin) - 1459 - Osterreichische Galerie Belvedere.jpg
Allegory of Sacred Music (Draft) [9] 1884Oil on canvas, 38.5 cm × 50 cmÖsterreichische Galerie Belvedere, ViennaThis painting was a preparatory draft for a ceiling painting for the city theatre in Rijeka, which was completed by the studio of Ernst and Gustav Klimt and Franz Matsch the following year. [9]
Klimt - Design for a Curtain for the Karlovy Vary Municipal Theater.png
Design for a Curtain for the Karlovy Vary Municipal Theater [10] 1884/1885Oil on canvas, 52.7 cm × 42.5 cmÖsterreichische Galerie Belvedere, Vienna [10] When Klimt and his two colleagues (Ernst Klimt and Franz von Matsch) received the commission to design the curtain for the Karlovy Vary Municipal Theater around 1884, they already had considerable experience in the field of theater design. Klimt's design for was directly inspired by similar curtain designs by Hans Makart. [10]
Gustav Klimt 072.JPG
Auditorium in the Old Burgtheater [11] 1888–1889Gouache on paper, 82 cm × 92 cmVienna Museum, Vienna
Gustav Klimt 064.jpg
Sappho [12] c.1888Oil on canvas, 39.4 cm × 31.7 cmVienna Museum, ViennaRepresentation of the Greek lyric poet born on the island of Lesbos. Still in the sketch stage, this painting fuses the Pre-Raphaelites' influence with the literary and dreamy symbolism of Moreau. Built on orthogonal lines, the canvas is pervaded by an allegoric mythology already present in Klimt's Burgtheater work. The detailed descriptive traits are a consequence of the period's historicism style, celebrating beauty in an atmosphere of refined archaism. [13]

1890s

ImageTitleYearMediumLocationNotes
Klimt - Bildnis Joseph Pembauer.jpeg
Portrait of Joseph Pembaur [14] 1890Oil on canvas, 68.4 cm × 55.4 cm Tyrolean State Museum, Innsbruck A realistic portrait of pianist and piano teacher, Joseph Pembaur. The photographic realism of the face generates a subtle tension with the symbolism of the stylised elements. In this period, the stylistic dilemma tormenting Klimt between historicism and symbolism is here resolved by the mediation of archaic forms, which attribute to Music, as identified by the instruments, an absolute and eternal value. [13] [15] Also known as Portrait of Joseph Pembauer. [16] [17]
Portrait of Mathilde Trau.png
Portrait of Mathilde Trau [18] c.1893Oil on canvas, 79 cm × 58.5 cmÖsterreichische Galerie Belvedere, ViennaThe painting depicts Mathilde Trau, the wife of Franz Trau, who ran a famous tea shop in Vienna. Klimt also painted a portrait of him. In terms of format and composition, this portrait is comparable to contemporary portrait photographs. The painting technique reflects a realism similar to the aesthetics of photography. However, beginning in the mid-1890s, Klimt's artistic approach shifted towards an impressionistically influenced and more atmospheric style. [18]
Klimt - Portrait of a Woman - 1893.jpg
Portrait of a Woman [19] 1893/1894Oil on canvas, 168 cm × 84 cmÖsterreichische Galerie Belvedere, ViennaA realistic full-length portrait of a woman in a black dress and Klimt's first representative portrait of a woman. [19] The subject is Marie Breunig, a friend and client of fashion designer Emilie Flöge, Klimt's life companion. [19] [20]
Gustav Klimt 063.jpg
Portrait of an unknown woman [21] c.1894Oil on paperboard, 30 cm × 23 cmVienna Museum, ViennaAn inscription names the subject as Mrs. Heymann. [21]
Gustav Klimt - Seated Young Girl - Google Art Project.jpg Seated Young Girl [22] c.1894Oil on wood, 14.1 cm × 9.6 cmLeopold Museum, Vienna
Klimt - Liebe - 1895.jpeg
Love [23] 1895Oil on canvas, 62.5 cm × 46.5 cmVienna Museum, ViennaFor its evanescent rarefaction the love scene reveals its symbolist mould. The work is part of Klimt's series of Allegories and Emblems, whose intent was to translate life's most significant moments, and its psychological nuances, into forms of metaphorical intensity.
Klimt - Musik1.jpeg
Music I [24] 1895Oil on canvas, 37 cm × 44.5 cm Neue Pinakothek, Munich [25] Allegoric representation of Music, which Klimt painted several times in various renderings. Besides the lyre, symbol of music, this particular canvas emphasises the sphinx (alluding to artistic freedom), the Silenus mask on the extreme left, the lion's teeth at the centre (a metaphor of the spread of new ideas) and finally the woman's meditative face.
Gustav Klimt - Josef Lewinsky als Carlos in Clavigo - 494 - Osterreichische Galerie Belvedere.jpg
Josef Lewinsky as Carlos in Clavigo [26] 1895Oil on canvas, 60 cm × 44 cmÖsterreichische Galerie Belvedere, ViennaKlimt depicts the court actor Josef Lewinsky on stage, as Carlos in Clavigo, a tragedy by Goethe. The painting was commissioned as an illustration for a book on the history of Viennese theater. [26]
Gustav Klimt - Dame mit lila Schal - um 1895 - Kunsthistorische Museum Wien.jpg
Portrait of a Lady with a Purple Scarf [27] c.1895Oil on canvas, 67 cm × 41 cm Kunsthistorisches Museum, ViennaAlso known as Portrait of a Lady with a Lilac Scarf. The painting was in a private collection for almost a century before being bequeathed to the Kunsthistorisches Museum in 2014. [28]
Gustav Klimt - Blind Man - Google Art Project.jpg
The Blind Man [29] c.1896Oil on canvas, 66 cm × 53 cmLeopold Museum, Vienna
Portrait of an Old Man in Profile (Count Traun%3F) Klimt.jpg
Portrait of an Old Man in Profile (Count Traun?) [30] c.1896Oil on cardboard, 46 cm × 35.2 cmLeopold Museum, ViennaWhile the painting's title suggests that it was a portrait commission, the identity of the subject is not known. When Klimt died, the painting was still in his possession, making it unlikely that it was commissioned by a third party. Therefore it is probable that Klimt painted this work on his own interest. [30]
El principe Guillermo Nii Nortey Dowuona - Gustav Klimt.jpg
Prince William Nii Nortey Dowuona1897Oil on canvas, 65.5 cm x 54 cm)Privately ownedThe painting disappeared due to Nazi looting and reappeared in 2025. It had belonged to the couple Ernestine and Felix Kelin, who had fled to Monaco in 1938 for being Jews, leaving the painting at their residence in Vienna. The last time the painting had been seen in public was in 1928.
Klimt - Gemalter Kompositionsentwurf zur Medizin.jpeg
Medicine (Draft) [24] 1897–1898Oil on canvas, 74.7 cm × 54.8 cm Israel Museum, Jerusalem [31]
Gustav Klimt 058.jpg
Portrait of Sonja Knips [32] 1897/1898Oil on canvas, 141.5 cm × 141.5 cmÖsterreichische Galerie Belvedere, ViennaThe baroness Sonja Knips was one of Klimt's most prominent clients. In this painting, Klimt chose the square format for a portrait for the first time. This portrait helped him in becoming one of the most sought-after portraitists in Viennese society at the time. [32] With a style reminding of the Belgian artist Fernand Khnopff, Klimt paints Knips, who was active with her husband in the circle of the Wiener Werkstätte. The face's plasticity contrasts with the soft inconsistency of the fluffy dress. In this diagonal composition, the evanescence of the chair, the book's red blur, the head surrounded by flowers, all anticipate the portraits of the golden period.[ citation needed ]
Gustav Klimt - Dame am Kamin - 5434 - Osterreichische Galerie Belvedere.jpg
Lady by the Fireplace [33] 1897/1898Oil on canvas, 41 cm × 66 cmÖsterreichische Galerie Belvedere, Vienna
Gustav Klimt Portrait of Helene Klimt (his niece).jpg
Portrait of Helene Klimt [34] 1898Oil on carboard, 60 cm × 40 cmPrivately owned [35] [34] Depicting Klimt's six-year-old niece, whom Klimt helped look after following the death of his brother Ernst in 1892. Klimt became her legal guardian. [20] [34]
Klimt - Pallas Athene.jpeg
Pallas Athena [36] 1898Oil on canvas, 75 cm × 75 cmVienna Museum, ViennaEnhanced by the golden frame created by Klimt's brother, Georg, the goddess Athena is portrayed in front of a frieze borrowed from a black-figure Attic vase of the 6th century BC. The red hair comes out of the helmet so as to underscore the goddess' femininity, notwithstanding her armour. Following the example of the Munich Secession, Athena is chosen as the patron numen of the Vienna Secession. [13]
Gustav Klimt 005.jpg
Moving Water [24] 1898Oil on canvas, 52 cm × 65 cmPrivately owned
Klimt - Portrait de jeune fille de face, c. 1898.jpg
Full-Face Head of a Girl [24] 1898Oil on canvas, 38 cm × 43 cmPrivately owned
Orchard in the Evening Klimt.jpg
Orchard in the Evening [37] 1898Oil on canvas, 69 cm × 55.6 cmLeopold Museum, ViennaExhibited on permanent loan from a private Austrian collection. [37]
Gustav Klimt 033.jpg
After the Rain [38] 1898Oil on canvas, 80 cm × 40 cmÖsterreichische Galerie Belvedere, ViennaIn August 1898, Klimt spent his first summer in the Salzkammergut, staying in St. Agatha near Lake Hallstatt with the Flöge family. There, he painted four landscapes, including After the Rain. These works already show the influence of French Impressionism through soft, fleeting brushwork, as well as inspiration from Japanese woodcuts. After the Rain became Klimt’s first work to enter a public collection in 1900. [38] The oblong format and the particular photographic style affirm their Japanese derivation. The rainy mist enveloping the whole, as well as the ornamental interpretation of every element, recall Whistler's evanescent landscapes. [39] Also titled Garden with chickens in St Agatha. [40]
Gustav Klimt 062.jpg
Full-Face Portrait of a Lady [24] c.1898–1899Oil on cardboard, 45 cm × 34 cmPrivately owned [41]
Schubert-Klimt.jpg
Schubert at the Piano [24] 1899Oil on canvas, 150 cm × 200 cmDestroyed by fire in 1945Critic and writer Hermann Bahr (1863–1934) wrote: " Klimt's Schubert is the finest painting ever done by an Austrian". The painting was destroyed by retreating German forces in 1945. [42]
Gustav klimt, serena pulitzer lederer, 1899.JPG
Serena Pulitzer Lederer [43] 1899Oil on canvas, 190.8 cm × 85.4 cm Metropolitan Museum of Art, New York
Klimt - Nuda Veritas - 1899.jpeg
Nuda Veritas [24] 1899Oil on canvas, 252 cm × 56.2 cm Austrian Theatre Museum, Vienna [44] The frame's upper margin quotes a verse by Schiller, indicating, in its difficult consensus, a distinctive sign of quality: "If you can't please everyone with your deeds and your art – please only a few. To please many is bad. Schiller." Aim of this quote is to incite the Vienna Secession to action. Another version of this work exists as an etching for the magazine Ver Sacrum . The mirror held by Veritas is a modern invitation to "Know yourself", whereas the flowers are symbols of regeneration. [13]
Gustav Klimt - Tranquil Pond (Egelsee near Golling, Salzburg) - Google Art Project.jpg
A Morning by the Pond [45] 1899Oil on canvas, 75.2 cm × 75.2 cmLeopold Museum, ViennaKlimt's first square landscape it was painted in Eglsee during a summer with the Flöge family in Golling. [45] Also known as Still Pond or Reflection, the painting’s style is reminiscent of Monet’s atmospheric landscapes. [46]
Klimt - Nixen Silberfische.jpg
Water Nymphs [24] c.1899Oil on canvas, 82 cm × 52 cm Bank Austria Kunstforum Wien  [ de ], ViennaNames for the painting include Water Nymphs, Silver Fish, andMermaids. It portrays two submerged figures devoid of bodies or limbs, instead composed of heads and long, black hair. This unconventional depiction challenges typical mermaid imagery with a disturbing variation and takes hair fetishism to its extreme, producing sex objects with no limbs, bodies or even sex organs. Their simple form is open to a range of interpretations: from severed heads in mythology to cherubic figures or the serpent of Eden. Klimt combines a range of archetypal themes and delievers a sensation of unease. [47]

1900s

ImageTitleYearMediumLocationNotes
Gustav Klimt - Alter Mann auf dem Totenbett - 8507 - Osterreichische Galerie Belvedere.jpg
Old Man on His Deathbed [48] 1900Oil on cardboard, 30.4 cm × 44.8 cmÖsterreichische Galerie Belvedere, ViennaKlimt often depicted the dead in his work although they were rarely publicly exhibited due to their personal nature. While such subjects are usually identifiable, the identity of the old man in this portrait is unknown. Klimt often painted shortly after a subject’s death, sometimes on the same day, suggesting the man may have died in 1900. The painting was likely cropped, so today only part of the original composition remains. [48]
1900 painting by Gustav Klimt The Black Bull Klimt.jpg
1900 painting by Gustav Klimt
The Black Bull [49] 1900Oil on canvas, 82 cm × 82 cmLeopold Museum, Vienna
The Large Poplar I - Gustav Klimt.jpg
The Large Poplar I [50] 1900Oil on canvas, 81.3 cm × 80.3 cm Neue Galerie, New York
Gustav Klimt - Attersee - Google Art Project.jpg
On Lake Attersee [51] 1900Oil on canvas, 80.2 cm × 80.2 cmLeopold Museum, ViennaContemporary critics praised the painting at the 10th Secession Exhibition in 1901. [51] It was painted from the jetty of a small boathouse by the Flöge residence during his first stay on the Attersee in the summer of 1900. [52] [51]
Gustav Klimt 004.jpg
Farmhouse with Birch Trees [53] 1900Oil on canvas, 80.3 cm × 80.3 cmPrivately owned
Judith 1 (cropped).jpg
Judith I [54] 1901Oil and gold leaf on canvas, 84 cm × 42 cmÖsterreichische Galerie Belvedere, ViennaThe painting depicts the biblical character of Judith holding the severed head of Holofernes. Judith's face exudes a mixed charge of voluptuousness and perversion. Its traits are transfigured so as to obtain the greatest degree of intensity and seduction, which Klimt achieves by placing the woman on an unattainable plane. Notwithstanding the alteration of features, one can recognise Klimt's friend and maybe lover Adele Bloch-Bauer, the subject of another two portraits respectively done in 1907 and 1912, and also painted in the Pallas Athena. [55] The slightly lifted head has a sense of pride, whereas her visage is languid and sensual, with parted lips in between defiance and seduction. The contrast between the black hair and the golden luminosity of the background enhance elegance and exaltation. The fashionable hairdo is emphasized by the stylised motifs of the trees fanning on the sides. [13]
Klimt-tannenwald.jpg
Fir Forest I [56] 1901Oil on canvas, 90.5 cm × 90 cm Zug Art Museum  [ de ], Zug, Switzerland
Klimt - Goldfische - 1901-02.jpeg
Goldfish [24] 1901–1902Oil on canvas, 181 cm × 66.5 cm Kunstmuseum Solothurn, Solothurn [57] Klimt initially thought to title the painting To my critics in response to criticism received for his Faculty Paintings at the University of Vienna. [58] The canvas has a symbolic intention and is dominated by the bare back, reminiscent of Rodin.
Gustav Klimt - Beech Grove I - Google Art Project.jpg
Beech Forest1902Oil on canvas, 100 cm × 100 cmThe series of Klimt's beech forests corresponds to the one with lakes, created during the same period. repeated are the high horizon, the squarish format, the close-up perspective. The rhythmic disposition of trees, rather than creating optical confusion, plays on the colours' vividness and the trunks' slenderness, so that the viewer is immersed in the scenery.
Klimt - Portrat Emilie Floge - 1902.jpeg
Portrait of Emilie Flöge [59] 1902Oil on canvas, 178 cm × 80 cmVienna Museum, Vienna
Gustav Klimt - Gerta Loew - 1902.jpeg
Portrait of Gertrud Loew [60] 1902Oil on canvas, 149.5 cm × 45 cmPrivately owned [61] The painting has also been called Gertha Felsöványi. [24]
Gustav-klimt-the-large-poplar-tree-ii-coming-storm-.jpg
The Large Poplar II [62] 1902/1903Oil on canvas, 100.8 cm × 100.8 cmLeopold Museum, ViennaAlso known as Gathering Storm. [62]
Klimt - Hoffnung I - 1903.jpeg
Hope I [63] 1903Oil on canvas, 189.2 cm × 67 cm National Gallery of Canada, Ottawa The unusual subject and its formal rendition created critical perplexity, so much so that, in order for Klimt to exhibit this work, he had to give it a religious interpretation. The pregnancy theme had already been present in one of the artist's figures in Medicine and the Beethoven Frieze . In 1907–08 Klimt will paint a second version, Hope II , this time with the pregnant woman wearing a highly stylised and geometric dress.
Klimt - The Golden Knight, 1903.jpg
The Golden Knight [64] 1903Oil on canvas, 100 cm × 100 cmPrivately ownedAlso known as Life is a Struggle. [64]
Gustav Klimt painting, pale face painting, pale face oil on canvas painting, Blasses Gesicht 1907 painting, pale face Gustav Klimt painting in Museum of Art, University of Oklahoma.jpg
Pale Face [65] 1903Oil on canvas, 80 cm × 40 cmNeue Galerie, New York
Gustav Klimt 053.jpg
Portrait of Hermine Gallia [66] 1904
Oil on canvas, 170.5 cm × 96.5 cm
National Gallery, London Klimt's only painting in a British public collection. [66] Klimt drew over 40 sketches of the sitter before settling on the final pose. Gallia is depicted in a fashionable 'reform' dress. Her face, neckline, hair and hands are realistically modelled while her pendant brooch is the only area of impasto. [67]
Gustav Klimt 067.jpg
Water Serpents I [68] 1904–1907Mixed media on parchment, 50 cm x 20 cmÖsterreichische Galerie Belvedere, ViennaThe painting combines various techniques, including watercolour with gold, silver, platinum, and brass on parchment. It was primarily painted in 1904 with minor additions in 1907. [68] The painting is also known as Water Snakes I,Friends and The Hydra. [69] [24] The composition showed stretched slender figures typical of the Jugendstil, which displayed an abstract illustration of a long-haired woman embracing a serpent-like figure.
Gustav Klimt - Water Serpents II.jpg
Water Serpents II [24] 1904–1907Oil on canvas, 80 cm × 145 cmPrivately owned [70] Also known as Water Snakes II. [24]
Klimt - Die drei Lebensalter der Frau.jpeg
The Three Ages of Woman [24] 1905Oil on canvas, 180 cm × 180 cm Galleria Nazionale d'Arte Moderna, Rome [71] This painting won the Prize at the Esposizione d'Arte Internazionale of Rome in 1911 and the following year was purchased by the Roman Galleria Nazionale d'Arte Moderna. The canvas mixes a geometrising decorativism and an unexpected psychological introspection in the expressions of the three figures: the dramatic premonition of death in old age, the tender protectiveness of the young woman, and the contented sleep of the child.
Gustav Klimt 055.jpg
Margaret Stonborough-Wittgenstein [24] 1905Oil on canvas, 180 cm × 90 cm Neue Pinakothek, Munich [72]
Gustav Klimt 032.jpg
Tree of Life 1905–1909Carton/panel, 138.8 cm × 102 cm Museum of Applied Arts, ViennaCentral panel for the mural at the Palais Stoclet in Brussels. The interior of this building was decorated with marble paneling and artworks, [73] and included the mosaic friezes [74] by Klimt and the murals by Ludwig Heinrich Jungnickel. [75] This integration of architects, artists, and artisans made Stoclet Palace an example of Gesamtkunstwerk, one of the defining characteristics of Jugendstil. The sketches of Klimt's work for the dining room can be found in the permanent collection of Museum für angewandte Kunst (MAK) in Vienna. The panel shows different influences, converging together: from the Byzantine mosaic art to the Japanese prints. But especially dominant is the Egyptian culture, in the posture of the figures and the iteration of the decorative motifs.
Stoclet Frieze left.jpg

Left panel

Stoclet Frieze right.jpg

Right panel

Klimt, Stoclet Frieze, Goldener Ritter.jpg Centre panel (working drawing)

Stoclet Frieze [76] 1905–1911Mosaic frieze Stoclet Palace, Brussels, BelgiumKlimt's years of work on this commission produced 9 working drawings at 1:1 scale (below) which were then realised as the final mosaics. [77] The tree of life is the frieze's main motif. The Stoclet Frieze was the last of Klimt's mural works. [78] Today it is still owned by the Stoclet family. [79]
Gustav Klimt 052.jpg
Portrait of Fritza Riedler [80] 1906Oil on canvas, 153 cm × 133 cmÖsterreichische Galerie Belvedere, ViennaThe painting depicts Fritza Riedler, the wife of a wealthy mechanical engineer. The delicate features of her pale face contrast strikingly with her dark hair. She exhibits not the slightest expression nor movement. Klimt combines a lifelike depiction of the model with an ornamental dissolution of the surroundings, rather than a realistic space. Even the armchair becomes part of this design, made up of flowing lines and eye motifs inspired by ancient Egyptian art. This is characteristic of Klimt's work at this time. [80] Portrait of Fritza Riedler is one of the most exhibited of Klimt's portraits.[ citation needed ]
Gustav Klimt, 1907, Farm Garden with Sunflowers, Osterreichische Galerie Belvedere.jpg
Farm Garden with Sunflowers [81] 1906Oil on canvas, 110 cm × 110 cmÖsterreichische Galerie Belvedere, Vienna
Gustav Klimt 046.jpg
Portrait of Adele Bloch-Bauer I [82] 1907Oil, gold and silver on canvas, 140 cm × 140 cmNeue Galerie, New YorkBoth the current holder of the portrait—the Neue Galerie New York—and the art historian Elana Shapira describe how the background and gown contain symbols suggestive of erotica, including triangles, eggs, shapes of eyes and almonds.
Blooming Poppies - Klimt.jpg
Blooming Poppies [83] 1907Oil on canvas, 110 cm × 110 cmÖsterreichische Galerie Belvedere, ViennaKlimt painted this work in the area around Lake Attersee in Upper Austria, where he spent his summer holidays every year from 1900 onwards. [83] Also known as Poppy Field. [84]
The Kiss - Gustav Klimt - Google Cultural Institute.jpg
The Kiss [85] 1907–1908Oil and gold leaf on canvas, 180 cm × 180 cmÖsterreichische Galerie Belvedere, ViennaA perfect square, the canvas depicts a couple embracing, their bodies entwined in elaborate robes decorated in a style influenced by both linear constructs of the contemporary Art Nouveau style and the organic forms of the earlier Arts and Crafts Movement. The work is composed of conventional oil paint with applied layers of gold leaf, an aspect that gives it its strikingly modern, yet evocative appearance. The Kiss is widely considered a masterpiece of the early modern period. It is a symbol of Vienna Jugendstil—Viennese Art Nouveau—and is considered Klimt's most popular work. [86]
Gustav Klimt - Hope, II - Google Art Project.jpg
Hope II [87] 1907–1908Oil, gold, and platinum on canvas, 110.5 cm × 110.5 cm Museum of Modern Art, New York
Klimt - Danae - 1907-08.jpeg
Danaë [24] 1907–1908Oil on canvas, 77 cm x 83 cmPrivately ownedRepresentation of the mythological daughter of King Acrisius of Argos and his wife Queen Eurydice. Danaë was a popular subject in the early 1900s for many artists; she was used as the quintessential symbol of divine love, and transcendence. While imprisoned by her father, King of Argos, in a tower of bronze, Danaë was visited by Zeus, symbolized here as the golden rain flowing between her legs. It is apparent from the subject's face and hands that she is aroused by the golden stream. In this work, she is curled in a sumptuous royal purple veil which refers to her imperial lineage. [a] Many early portrayals of Danaë were erotic; other paintings completed in similar style are Klimt's Medicine (1900– 1907), and Water Snakes (1904–1907). [88]
Sunflower - Gustav Klimt.jpg
Sunflower [89] 1907/1908Oil and gold leaf on canvas, 110 cm × 110 cmÖsterreichische Galerie Belvedere, ViennaKlimt's Sunflower has repeatedly been interpreted as a humanoid figure. The famous art critic of the Vienna Secession, Ludwig Hevesi, saw it as a "fairy in love." Others even considered this painting a hidden portrait of the designer Emilie Flöge. [89]
Gustav Klimt - Nine Working Drawings for the Execution of a Frieze for the Dining Room of Stoclet House in Brussels - 1910-11.jpg
9 working drawings for Stoclet Frieze [77] 1908-1911Mixed media on paper Museum of Applied Arts, Vienna Including Expectation (Dancer), The Tree of Life , and Fulfillment. [77]
Lady in fur hat and boa. Gustav Klimt. 1909.jpg
Lady With Hat and Feather Boa [24] 1909Oil on canvas, 69 cm × 55 cmPrivately owned [90]
Park at Kammer Castle.jpg
Park at Kammer Castle [91] 1909Oil on canvas, 110 cm × 110 cmNeue Galerie, New York
Gustav Klimt, Judith II.jpg
Judith II [92] 1909Oil on canvas, 176 cm × 46 cm Ca' Pesaro, Venice
Gustav Klimt 018.jpg
The Park [93] 1909–1910 [94] Oil on canvas, 110.5 cm × 110.5 cmMuseum of Modern Art, New YorkOne of Klimt's paintings closer to abstraction, but not quite embracing it in full. The multiplicity of colours and reedy forms of vegetation infuse a sense of vivaciousness that connects with Nature's life cycle. The focus is a close-up subject, as often occurs in Klimt's landscapes, whereas the execution is reminiscent of exquisite mosaics. [13]
Gustav Klimt - Mutter mit zwei Kindern (Familie) - 10501 - Osterreichische Galerie Belvedere.jpg
Mother with Two Children(Family) [95] 1909/1910Oil on canvas, 90 cm × 90 cmÖsterreichische Galerie Belvedere, Vienna
Gustav Klimt - Schloss Kammer am Attersee III - 4318 - Osterreichische Galerie Belvedere.jpg
Schloss Kammer on the Attersee III [96] 1909/1910Oil on canvas, 110 cm × 110 cmÖsterreichische Galerie Belvedere, ViennaThis painting shows the lake-facing façade of Kammer Castle. Klimt likely captured this view on canvas from the opposite shore using a telescope. [96]

1910s

ImageTitleYearMediumLocationNotes
Gustav Klimt 019.jpg
The Black Feathered Hat [24] 1910Oil on canvas, 79 cm × 63 cmPrivately owned [97] Also known as Lady with Feather Hat, [97] the red hair and the disproportionate hat were already present in Klimt's Lady with Hat and Feather Boa (1909). The unfinished style, unusual for the Austrian artist, seems to recall that of Henri de Toulouse-Lautrec, whose work was seen by Klimt in Paris the previous year: this is echoed by the synthesis of the image, lacking any decorative support, and its low tones. [13]
Gustav Klimt - Death and Life - Google Art Project.jpg
Death and Life [98] 1910/1915Oil on canvas, 180.8 cm × 200.6 cm [99] Leopold Museum, ViennaFirst painted in 1910, Klimt decided to fundamentally revise the work in 1915. [98] Also known as Death and Love. [99] The marked rupture cutting this composition in two parts represents several symbolic motifs: the disquieting and dark image of Death looms over the entangled group of the human bodies, where colour retrieves its decorative vividness. The ascending structure narrates life's salient motifs: from friendship to love, to maternity. The man's brawny physique will inspire Egon Schiele's nudes. [100]
Klimt - Oberosterreichisches Bauernhaus.jpeg
Upper Austrian Farmhouse [101] 1911Oil on canvas, 110 cm × 110 cmÖsterreichische Galerie Belvedere, ViennaThe influence of both van Gogh and Toulouse-Lautrec can be seen in this painting through his brushwork and contrasting of textures. [102]
Gustav Klimt - Allee zum Schloss Kammer - 2892 - Osterreichische Galerie Belvedere.jpg
Avenue to Kammer Palace [103] 1912Oil on canvas, 110 cm × 110 cmÖsterreichische Galerie Belvedere, Vienna
Gustav Klimt 047.jpg
Portrait of Adele Bloch-Bauer II [24] 1912Oil on canvas, 190 cm × 120 cmPrivately owned [104]
Gustav Klimt 050.jpg
Mäda Primavesi [105] 1912–1913Oil on canvas, 149.9 cm × 110.5 cmMetropolitan Museum of Art, New York
KlimtDieJungfrau.jpg
The Maiden [106] 1913Oil on canvas, 190 cm × 200 cm National Gallery, Prague The paiting is also known as Virgin or The Virgin. [24] [107] To his usual depiction of aristocracy, Klimt now substitutes erotic allegories, as for Death and Life. Here the entanglement of women has lost any realism, as is apparent in the almost skeletal nude on the left, and thus it is absorbed in the decorative scheme. The association of beauty with such unnatural poses, indicates an allusion to life's ephemerality, a reflection of modern society.
Italienische Gartenlandschaft (Klimt).jpg
Italian Garden Landscape [108] 1913Oil on canvas, 110 cm × 110 cmZug Art Museum, Zug, Switzerland
Klimt-landhaus-am-attersee.jpg
Forester's Lodge in Weißenbach I [109] 1914Oil on canvas, 110 cm × 110 cmÖsterreichische Galerie Belvedere, Vienna
Litzlbergkeller Klimt.jpg
Litzlbergkeller [110] 1915/1916Oil on canvas, 110 cm × 110 cmLeopold Museum, ViennaClose-up view of the restaurant “Litzlberger Keller”. The painting was commissioned by Otto Primavesi  [ de ]. [110]
Gustav Klimt 048.jpg
Portrait of Elisabeth Lederer [111] 1916Oil on canvas, 180 cm × 126 cmPrivately ownedKlimt began painting this work in 1914, [111] also known by the title Elisabeth Bachofen-Echt. [24] An oriental note dominates in the figurines framing the Baroness. To the pyramidal structure of the subject is accompanied an abstract and serrated syntax, typical of Klimt's last output. Having concluded his "golden phase" since 1909, and overcome the subsequent crisis, the artist rejects Greek or Egyptian modules and concentrates on a joyful chromatic vibrancy, close to Matisse. [13]
Portrait of Friedericke Maria Beer.jpg
Portrait of Friederike Maria Beer [112] 1916Oil on canvas, 168 cm × 130 cm Tel Aviv Museum of Art, Tel AvivThis woman, daughter of the Kaiserbar's owner, was also portrayed Egon Schiele.[ citation needed ] Klimt portrays her in a dress made by the Wiener Werkstätte. [113] In order to emphasize its pompous style, he replicates the oriental elements of the Baroness Elisabeth Lederer, taken from a Korean vase of hers. The three colours at top right – red, white, and black – allude to the Austrian flag and the outbreak of World War I.[ citation needed ]
Gartenlandschaft mit Bergkuppe (Pfarrgarten).jpg
Garden landscape with mountain top (parish garden) [114] 1916Oil on canvas, 110 cm × 110 cmZug Art Museum, Zug, Switzerland
Gustav Klimt 021.jpg
Women Friends [24] 1916–1917Oil on canvas, 99 cm × 99 cm (?)Destroyed by fire in 1945The painting was destroyed by retreating German forces in 1945. Only studies and photographs remain. [115]
Gustav Klimt 061.jpg
Portrait of a Lady 1916–1917Oil on canvas, 60 cm × 55 cm Galleria d'arte moderna Ricci Oddi, Piacenza Rendered in a brisk and vivacious style, the portrait is pervaded by a serene spirit, unusual for Klimt. Here he alters the face's realism with bright colour daubes, thus reaching an expressionist style, especially close to Jawlensky's images. However, to the lumpy and violent deformation of his colleagues' brush, Klimt opposes his usual ornamental finery.
Gustav Klimt - Adam und Eva - 4402 - Osterreichische Galerie Belvedere.jpg
Adam and Eve [116] 1916–1918Oil on canvas, 173 cm × 60 cmÖsterreichische Galerie BelvedereUnfinished painting. Eve is the main figure in the painting, with Adam in the background serving to contrast with her milky white skin. [117] It takes a symbolic significance for its biblical subject as well as Eve's facial rendering, with her reclined head and a sweet yet enigmatic smile. The lower section, with its flowers and background decorativism, is typical of Klimt; the upper section, where the figures are contraposed to a monochrome backdrop, reveals a synthesis of strained lines closer to Schiele's style. [13]
Gustav Klimt 054.jpg
Johanna Staude [118] 1917/1918Oil on canvas, 70 cm × 50 cmÖsterreichische Galerie BelvedereUnfinished. [119] Another portrait, where Klimt concentrates on the body upper half, with an arlequin blue motif of leaves in the dress.
Gustav Klimt - Dame mit Facher.jpeg
Lady with a Fan [120] 1917/1918Oil on canvas, 100 cm × 100 cmPrivately ownedOne of Klimt's last finished works. [121]
Gustav Klimt - Dame in Weiss - 4286 - Osterreichische Galerie Belvedere.jpg
Lady in White [122] 1917/1918Oil on canvas, 70 cm × 70 cmÖsterreichische Galerie Belvedere
Klimt - The Bride (unfinished), 1917.jpg
The Bride [123] 1917/1918Oil on canvas, 165 cm × 191 cmÖsterreichische Galerie BelvedereWhen Klimt died, this painting was left unfinished and leaning against the easel in his studio. It shows clearly Klimt's working method with preliminary sketches still visible, while in other places motifs are already fully developed. [123]
Gustav Klimt - Amalie Zuckerkandl - 7700 - Osterreichische Galerie Belvedere.jpg
Amalie Zuckerkandl [124] 1917/18 (possibly begun as early as 1913/14)Oil on canvas, 128 cm × 128 cmÖsterreichische Galerie BelvedereUnfinished. [124]
Gustav Klimt - Posthumous Portrait of Ria Munk III.jpg
Posthumous Portrait of Ria Munk III [125] 1917/1918Oil on canvas, 178.1 cm × 89.9 cmPrivately owned [126] Unfinished. [125]

Notes

  1. Sometime after her celestial visitation Danaë gave birth to a son, Perseus, who is cited later in Greek mythology for slaying the Gorgon Medusa and rescuing Andromeda.

References

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  88. Cf. Laura Payne, Klimt, Parragon Publishing (2004), ss.vv..
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  92. "Giuditta - Olio su tela". www.archiviodellacomunicazione.it. Retrieved 11 May 2025.
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Bibliography

Further reading