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Immortalized As 'The Woman In Gold,' How A Young Jew Became A Secular Icon : NPR. Gustav Klimt's 1. Adele Bloch- Bauer was seized by the Nazis at the outset of World War II. A film starring Helen Mirren now tells the story of Adele's niece, who fought to recover her family's paintings more than a half century later.
A film starring Helen Mirren now tells the story of Adele's niece, who fought to recover her family's paintings more than a half century later. On Friday, Mirren received an award for her performance at New York's Neue Galerie, which is now home to more Klimts than anywhere else in the country. The Neue collection includes a 1. Altmann's aunt, Adele Bloch- Bauer — the woman in gold.
Several of Klimt's other portraits have joined Adele Bloch- Bauer at the Galerie in an exhibit on display until Sept. One of those portraits — The Dancer — was painted in 1. Klimt's last. The real dancer's name was Ria Munk. She took her own life at age 2.
Ren. Her robe, open at the breasts, is patterned green and red. The portrait is decorative and joyful.
The Dancer was the first Klimt to be shown in the United States, says curator Janis Staggs. Without a Jewish name, the work became appropriate to show in Hitler's Third Reich. From a prominent family, Adele Bauer was the daughter of a banker and the wife of Ferdinand Bloch. He was nearly twice her age — their marriage was arranged when she was just 1. There were no universities for Viennese women.
He puts Adele in a throne- like chair. Her long neck is sheathed in a gem- encrusted choker. Her voluminous gown is covered in geometric patterns inspired by gold- embedded mosaics he'd seen on a trip to Ravenna, Italy.
The dress is three- dimensional in some places — the paint built up and off the canvas. He painted not only with oil, but also layered in gold and silver leaf, Staggs says. Adele has a cloud of black hair piled on top of her head, and thick, lush eyebrows. That sort of sign of sensuality was unusual in portraits of that time. Her hands are clasped in front of her chest in a strange, awkward position. There's sadness in them.
For all her wealth and privilege, Adele Bloch- Bauer had much to bear. She was frail, suffered bad migraines and was a chain smoker. She was 2. 2 when Klimt began this portrait, and those losses show in her eyes.
The opportunities she had dreamed of as a young girl were going to be denied. The prominent artist who painted her portrait — which was shown in Germany, Vienna and Switzerland in her lifetime — had made her into a secular icon. Staggs theorizes that was a gift to both of them..