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Gustav Klimt covered his portraits in gold leaf and pattern until the sitter and the surface became one thing. He led the Vienna Secession, painted the Stoclet Frieze in Brussels, and spent his summers making dense, close-toned landscapes at the Attersee. The collection holds both sides. Gold portraits with Byzantine ornament, and the quieter orchards and gardens in deep green.
Gustav Klimt (1862-1918) was an Austrian painter and the founding president of the Vienna Secession. He began as a decorator of public buildings, then broke from academic painting towards ornament, symbolism and gold. His golden phase produced Portrait of Adele Bloch-Bauer I, the picture that later sold for a record sum. Klimt drew constantly and painted slowly. In summer he left Vienna for the Attersee, where he made square landscapes of orchards, gardens and water.
The portraits lead: Adele Bloch-Bauer I, Lady with Fan, The Virgin with its tangle of sleeping figures. Hygeia, from the Medicine ceiling, brings the allegorical work. The landscapes run alongside them, Pear Tree, Island in the Attersee, Farm Garden with Sunflowers. Studies for the Stoclet Frieze show the flat, patterned side of Klimt. Colour is gold, black, deep green and rose.
The gold portraits carry a room on their own. Hang one above a console or a bed against a deep wall, charcoal, ink or forest green, and let the metallic do the lifting. The Attersee landscapes are calmer and hang well in pairs, or in a run of three along a corridor. Warm brass frames follow the gold. A slim black frame suits the Attersee greens better. Avoid cool white walls, which flatten the metallic and leave the pattern looking busy.
Every artwork here is an archival print, hand-framed to order and delivered ready to hang — made in India.
