7/internal/media/dispatcher/5283/fullWoman in White1917/1918[Gustav Klimt, Hugo Koller, Österreichische Galerie, Gustav Klimt, Broncia Koller-Pinell, Galerie Welz, Wien]Gustav KlimtOil on canvas (unfinished) Lady in White is one of the unfinished paintings found in Gustav Klimt’s studio after his death. It is a good example of the painter’s approach in his late period: Klimt positioned his unknown model within the square canvas so as to form a diagonal that divides the picture space. This creates three sections in the composition, with the figure at the center, a light background on the left, and a dark surface opposite. While the visible brushwork is typical of Klimt’s late paintings, the pronounced flatness of the image is a characteristic of Viennese Jugendstil. Paintinghttps://sammlungtest.belvedere.at/objects/3080/rdf/internal/media/dispatcher/128260/fullJohanna Staude1917/1918[Johanna Staude, Gustav Klimt, Österreichische Galerie]Gustav KlimtOil on canvas Johanna Staude gazes back at us with shining blue eyes. Gustav Klimt shows the young woman against an orange-red background with a fashionable hairstyle and wearing a dress with a striking pattern. It is named after a Wiener Werkstätte fabric called „Blätter“ (Leaves) and was designed by Martha Albers, a graduate from the Vienna School of Applied Arts. Wrapped around the sitter’s throat is a feather boa that draws our attention to her face. This serene and simple composition was one of Klimt’s last female portraits. The painter was a friend of Johanna Staude and she probably modeled for him on repeated occasions. Address directories document that she was also a language teacher and artist.Paintinghttps://sammlungtest.belvedere.at/objects/4302/rdf/internal/media/dispatcher/52844/fullAmalie Zuckerkandl1913/14 (possibly also still in 1917) (unfinished)[Amalie und Otto Zuckerkandl, Amalie Zuckerkandl, Österreichische Galerie, Hermine Müller-Hofmann, Ferdinand Bloch-Bauer, Gustav Klimt]Gustav KlimtOil on canvas The sitter is Amalie Zuckerkandl, wife of the surgeon Otto Zuckerkandl and sister-in-law of the well-known writer Berta Zuckerkandl. This unfinished portrait clearly demonstrates Gustav Klimt’s method of working. As in all of his late portraits, his starting point was the face while the body and clothes are initially only indicated using sketchy strokes. Klimt was given the commission in 1913/14, but progress was interrupted when the Zuckerkandls moved house. In 1917 he resumed work on the portrait, yet it was never finished due to Klimt’s unexpected death early the following year. Amalie Zuckerkandl was left impoverished after the couple divorced. In 1942 she was deported by the Nazis and murdered at Bełžec extermination camp in Poland. Paintinghttps://sammlungtest.belvedere.at/objects/7488/rdf/internal/media/dispatcher/160632/fullBride1917/1918[Gustav Klimt]Gustav KlimtOil on canvas When Gustav Klimt died unexpectedly in February 1918, this colorful work was found unfinished on the easel in his studio. At the center of the painting is a young woman in blue, tilting her head dreamily toward the man on the left in the picture. He is surrounded by sensual, intertwined bodies, but he looks only at the woman by his side. There are still many puzzles surrounding this painting. Is Klimt exploring male desire? Or is the painting a symbol of a woman’s journey from child to adult and even to motherhood? Klimt depicted the relationship between man and woman one last time in this large allegorical work. The Bride was only added as the title after the artist’s death. Paintinghttps://sammlungtest.belvedere.at/objects/9020/rdf/internal/media/dispatcher/160537/fullAdam and Eve1916 - 1918[Gustav Klimt, Galerie Gustav Nebehay, Österreichische Galerie, Sonja Knips]Gustav KlimtOil on canvas (unfinished) Klimt rarely engaged with biblical subjects during his career. One of his last works, unfinished at his death, shows the first humans, Adam and Eve. He was not interested in the more traditional depiction of the Fall, however, instead focusing on the figure of Eve as the quintessential female. Adam has closed his eyes, intoxicated with love, as he tilts his head and nestles tenderly against Eve. But Eve is looking straight at us. The anemones on the ground are emblems of fertility; the leopard skin, meanwhile, was a symbol in ancient Greece of unbridled desire. In Klimt’s interpretation, then, it is Eve—and not the snake—who is the temptress.Paintinghttps://sammlungtest.belvedere.at/objects/3196/rdf/internal/media/dispatcher/17150/fullLidded Chinese Vaseundated[Unbekannter Künstler]Unbekannter KünstlerPorcelainArts and craftshttps://sammlungtest.belvedere.at/objects/7184/rdf/internal/media/dispatcher/17155/fullLidded Chinese Vaseundated[Unbekannter Künstler]Unbekannter KünstlerPorcelainArts and craftshttps://sammlungtest.belvedere.at/objects/12401/rdf