4/internal/media/dispatcher/146230/fullErwerbung eines Gemäldes von Gustav Klimt "Adam und Eva" aus dem Besitze Sonja Knips und "Bildnis Frau Sonja Knips" von Klimt. Leihgabe "Bildnis Frau Sonja Knips" an Frau Sonja Knips auf Lebensdauer.1950[Gustav Klimt, Sonja Knips, Karl Garzarolli-Thurnlackh]Sonja KnipsArchive materialhttps://sammlungtest.belvedere.at/objects/99510/rdf/internal/media/dispatcher/160537/fullAdam and Eve1916 - 1918[Gustav Klimt, Gustav Klimt, Kunsthandlung Gustav Nebehay, Sonja Knips, Österreichische Galerie]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/17188/fullRed Sketchbook1898[Gustav Klimt, Sonja Knips, Unbekannter Besitz, Österreichische Galerie, Christian M. Nebehay]Gustav KlimtBooklet bound in red leather, drawings and notes in pencil and a black and white photo Gustav Klimt used this red leather-bound sketchbook beginning in 1898 to capture his spontaneous ideas, including sketches for the works "Nuda Veritas" (1899), "Judith I" (1901), "Will-o’-the-Wisp" (1903), "The Philosophy" (1900), and "Jurisprudence" (1903). The booklet turned up in the estate of Sonja Knips, one of Klimt’s most prominent patrons. In her portrait, dated 1898, Knips can be seen holding the sketchbook. The artist probably presented it to her either during or immediately after the portrait sessions. Historical records suggest that Klimt used many red sketchbooks like this one, but almost all were lost in a fire at Emilie Flöge’s apartment in 1945.Drawing arthttps://sammlungtest.belvedere.at/objects/9997/rdf/internal/media/dispatcher/118782/fullSonja Knips1897/1898[Gustav Klimt, Sonja Knips, Österreichische Galerie]Gustav KlimtOil on canvas Calm and confident, Sonja Knips gazes back at us. A baroness by birth, she was one of Gustav Klimt’s most prominent patrons. The artist subtly composed her portrait with great sensitivity, alternating between hazy evocation and precision: Sonja Knips’s face is rendered naturalistically, while her sumptuous tulle gown dissolves in a cascade of soft brushstrokes. Leaning slightly forward, she sits on the edge of an armchair ready to rise at any moment. A red sketchbook in her right hand adds an accent of bright color. This is the first portrait that Klimt painted in a square format. It also marks the start of his rise to become one of the most sought-after portraitists of Viennese society.Paintinghttps://sammlungtest.belvedere.at/objects/3197/rdf