Research Project

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Isabel Barradas Caudle
Professor: Lynn Grow. Ph. D.
ENC 1101: 8:00 A.M – 9:15 A.M TR
1 December 2011
Gustav Klimt:The controversial significance of the Feminine Form in theFin-de Siècle Viennese
Art Nouveau.
1.-INTRODUCTION
Gustav Klimt‟s worksare remembered for eliciting extreme admiration as well as intense
controversy and criticism (Partsch 7). “The name of Gustav Klimt (1862-1918) is intimately
associated in the art-lover‟s mind with sensuous lines, erotic and beautiful women, and
decorative golden detail. His paintings are instantly recognizable and have been exhibited in
major art galleries worldwide, ensuring Klimt an international reputation as one of the most
foremost artists of his era” (Payne 6). His artistic paintings and drawings of the feminine form
that refer to the theme of feminine sexuality have assured him a place in the history of erotic art.
In his later paintings, sexual subject matter is often concealed beneath an elaborated grid of
colorful and predominantly golden ornaments, but in his drawings, the explicitly erotic is
repetitivelymanifested. Over and over again the themes of sexual coupling and female
masturbation have never occurred more frequently or more exquisitely portrayed than in a
number of Klimt's most famous works of art.

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Many of his works were considered too sensual for the fin-de-siècle and early 20th Century
Vienna, and even his more historical, or mythical works featuring feminine nudes were often
criticized for being too erotic. Fortunately, the strong critiques only served to heighten Klimt's
international recognition, if not his notoriety as well.(Partsch 7).
Contemporary critics, as well as earlier commentators, have observed that explicitly sexual
subjects impelled Klimt to produce some of his finest paintings.One of the most important art
critics of that time Hermann Bahr wrote in his “Speech on Klimt” of 1901: “Just as only a lover
can reveal to a man what life means to him and develop its innermost significance, I feel the
same about these paintings”. Bahr‟s words compared the connection between Klimt‟s paintings
and the observer to the relationship between lovers; this reflects a strong metaphor of the intense
emotions that they evoked. (Payne 6).
Klimt lived in Vienna, the city where Sigmund Freud lived too. There is no official record
indicating whether Klimt and Freud knew each other, it is quite clear from Klimt‟s artistic
progress that Klimt welcomed Freud‟s ideas and adopted them in the paintings. It is unknown
what exactly Klimt thought of himself and the “simple robe style” and it seems that he liked to
associate himself with loose unconsciousness and sexuality being decanted onto his canvases.
Klimt‟s highly decorative, erotic feminine figures were influenced by an enormous range of
sources, some being classical Greek art, Egyptian and Minoan art, Byzantine mosaics, late-
medieval painting, the woodcuts of Albrecht Durer, and the Symbolist art of Max Klinger. As a
founder of the Vienna Secession, a group of artists and architects who formed their own
exhibition society and denounced the classical academic training of the time, Klimt's work
exemplified the erotic, psychological and aesthetic mannerisms of fin-de-siècle Viennese

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intellectuals. Thus, the primal forces of sexuality, regeneration, love and death constituted the
dominant themes of Klimt‟s paintings concerning the feminineform. “The drawings of aroused,
naked women give a straightforward picture of Klimt‟s attitude to sexuality” (Whitford 166). “In
such allegorical works as The Three Ages of Women, Hope and Death and Life females appear at
the center of a world constantly in change and decay” (Whitford 166-67).
Because of his obsession with such taboo subjects as the female form and eroticism he received
much criticism for his deviation from the traditional art.He is considered one of the most
important exponents of what was called The Vienna Art Nouveau movement. He was known as a
Symbolist painter, which means that he painted with the intention of conveying a deeper
significance than objects alone would suggest. In the symbolism, subjects were chosen for the
concept that they represented, rather than as mere objects. Symbolist painters believed that art
should reflect an emotion or an idea rather than represent natural world in objective or quasi-
scientific way express in the previous movements as Realism and Impressionism. Though it
began as a literary concept in the 1880s, Symbolism was soon spread to the artwork of a younger
generation of painters who were rejecting the conventions of Naturalism. In painting, Symbolism
represents a synthesis of form and feeling of reality and the artist‟s inner subjectivity.
Each artist has an inspiration that drives them, for Klimt this inspiration was the Feminine
form, more specifically: the Femme Fatale. Many of the Klimt‟s paintings are symbolic of the
qualities of the Femme Fatale.
While some critics and historians believe that Klimt‟s works should not be included in the
Canon of modern art, his paintings and drawings remain striking for its unique visual
combination of the old and the modern, the real and the abstract, which maybe a possible

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explanation for the phenomena that Klimt produced his greatest work during a time of change
and radical ideas with certain features that are clearly perceived in his paintings. He expressed:
“if anyone wants to know anything about me, as a painter – and that is the only question worthy
of consideration- let him carefully study my works and try to read in them what I am and what I
wish for”.(Frodl 12).
2.-LIFE AND WORKS
Gustav Klimt would possibly be forgotten in history as many other successful and temporarily
praised artists, but instead he contributed to the world of art with a number of paintings that
obsessively represented the women‟s nature. What does it mean to be a woman in a
psychological sense? How does a woman feel in a way that men don‟t? , maybe those were some
of the questions in the Klimt‟s mind that possibly drove his inimitable work.
Klimt did not live a modest, conventionalor monogamous life, it was quite the opposite. He
never was the conservative serious or formal artist wearing a nice black suit and white shirt
underneath the painter robe but he used to wear sandals and a loose robe usually with no
undergarments, and he spent most of his life in this type of clothing, endlessly painting women
and thinking of women.Moreover, a common image of Klimt was always open to support young
promising artists, an example of this was his mentorship with Egon Schiele (1890-1918) who
was regarded by many of his contemporaries as the predestined successor to Gustav Klimt, but
died before he could fulfill his promise. Another detail concerning Klimt is that he never
participated in any sorts of scandals relating to his personal life and tended to keep his affairs

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with society ladies in secret.(Kransel 88).Although he was never married, after his death a lot of
women claimed that he had fathered their children.
In the early 1890s, Klimt met Emilie Flöge(1874-1952), a successful couturier and designer, who
ran a fashionable dressmaking shop:La Casa Piccola, in the MariahilferStraße, Vienna's pre-
eminent shopping street.In 1902, he painted herlast portrait (Partsch 112) and she became his
lover and lifelong companion (Frodl 82).For 27 years Klimt maintained a steadfast relationship
with her, but his affairs with prominent married society women were notorious, his conquests
including the leading femme fatale of the age, Alma Mahler, and the wealthy Adele Bloch-
Bauer. These women often appear in various guises in Klimt‟s paintings. Little else of Klimt‟s
personal life is known. Whether his relationship with Flöge was a sexual one or not is arguable,
but during that period it is believed that Klimt fathered at least 14 illegitimate children with
various partners.(Partsch 58).
A noteworthy possible Freudian intervention includes the idea that the more Klimt progressed
with his artwork, the more intensely he seemed to want his models to demonstrate sexual
affection. This may be only a reasonable assumption based that in those times, the beginning of
the 20th century, a peak of one of the waves of secular beliefs in society with many people
claiming how everything and anything is based on matter, not on spirit. Here, Freud is present as
a significant figure in Vienna who thoughtthat people are primarily driven by their sexual
desires.Eroticism was in the air at that time: Freud saw no upright object without interpreting it
as erectile, no orifice without potential penetration. Even Adolf Loos (1870-1933) architect and
theorist, who became more famous for his ideas than for his buildings, he believed that reason
should determine the way we build, and he opposed the decorative Art Nouveau movement with
his right-angled art and his hostility towards ornamentation, but even he associated horizontal

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lines with woman and vertical lines with man.Nevertheless, Klimt never exposed his most
provocative and erotic collection of about 100 drawings in his public final works but used them
to study women‟s nature. This maybe something that differentiates Klimt from a mere
womanizer, and as a result of his lifestyle he produced exceptional and unique paintings with the
most feminine images of women. “Art historians additionally claimed that Klimt was persecuted
for his erotic convictions, although he had led a rather discreet life, unlike most of his famous
contemporaries in fin-de-siècle Vienna.” (Bitsori 1507).
Julie Johnson in her article about the Austrian impressionist Tina Blau wrote: “The most
memorable histories of Vienna 1900 have centered on the Secession and its role as a heroic
avant-garde in the battle with moribund art institutions. The early reception of Vienna 1900 (its
first scholarly revival occurred in the 1960s) stressed a dichotomy between sexual repression and
the freedom of modernist artists and thinkers like Freud. In the images that have become most
canonical, the sexual freedoms of artists heroes Gustav Klimt and Egon Schiele are apparent.
The emphasis on Freud and Klimt as revealers of sexual truths in one image of Vienna 1900 that
persist today, but it is incomplete” (1).
3.-THE CRITICISM
Gustav Klimt's erotic and sensual paintings were constantly criticized by jealous artists and art
critics. Ludwig Hevesi (Hungarian journalist and art critic, well-regarded figure on the Viennese
art scene) compared Klimt to Hans Makart (19th century Austrian academic history painter,
designer and decorator), making him look as the Vienna‟s new prince of painters. „The Kiss‟ did
not present society with a scandal, as so many of Klimt‟s previous pictures had. On the contrary,

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the picture was received with enthusiasm from the beginning, as is shown by how quickly it sold.
It has remained one of Klimt‟s most famous pieces of work, and has also become a symbol of the
Vienna Artistic Style (Jugendstil or style of the youth). It can be admired at The Belvedere
Museum in Vienna.
Peter Selzdescribed Klimt‟s style in the following terms: “…moved from elaborate decorative
paintings toward evocative symbolist murals and sumptuous portraits of Viennese ladies. He
became the most sought-after portraitist for depictions of women who were almost imprisoned in
their luxurious environment. His women relate to characters who in the plays of Schnitzler and
Hofmannsthal are part of an illusory stage world without a power of their own. These women
seem to live of luxuriant futility, part of an overripe civilization far gone towards decline.” (79).
Despite all the criticism, Klimt‟s skill did not go unrecognized. In 1917, he was named an
honorary member of the Academies of Fine Art in Munich and Vienna. (Price. 2007. 421)
During several exhibitions, Klimt's painting annoyed virtually every ideological faction in
Vienna. The academics found the symbolism too vague, and the Catholics took exception to the
nudity.
In 1893 Gustav Klimt was commissioned to create three paintings to decorate the ceiling of the
Great Hall in the University of Vienna (Bitsori 1506), though not completed until the turn of the
century, the three University paintings: Philosophy, Medicine, and Jurisprudence were criticized
for their radical themes and material, even addressed as an “Art Scandal and Literary
Controversy”. Klimt spent ten years of his life working on these paintings. “The University
paintings were undoubtedly Klimt‟s masterpiece. Of those of his works that perished – among

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them some of his finest paintings and fifty of his sketchbooks – these constitute the greatest loss
to posterity.” (Nebehay 61-64).
One of Klimt's paintings, Philosophy, caused widespread concern. Within days of the exhibition
opening, eighty-seven members of the University of Vienna had publicly protested about Klimt's
picture and petitioned the Ministry of Education to cancel the commission given to Klimt in
1893 for the decoration of a hall. They accused Klimt of presenting 'unclear ideas through
unclear forms' (Bitsori 1506); instead of making an unambiguous statement about the virtues of
philosophy he had produced a puzzle which seemed to suggest that the mysteries of life were
ultimately impenetrable and that human existence consisted of nothing more than the infinitely
repeated cycle of birth, copulation and death.The painting also revealed a fissure between
rationalists and aesthetes: to the rationalists, Philosophy seemed to be attacking the positivist
interpretation of the world in which reality consisted exclusively of demonstrable facts.“His
Philosophyindicates an inspiration provided by the ideas of composer Richard Wagner and
philosopher Friedrich Nietzsche.” (Bitsori 1507).
The next painting, Medicine, was met with accusations of “pornography and perverted excess”
(Nèret 24) (Bitsori 1507), and again, 'unclear ideas through unclear forms'. It seemed as if almost
every academic perspective had problems with the paintings (Partsch 112). The last of the series
of three paintings, Jurisprudence, required to express notions of Justice, Truth and the Law, was
attacked for much the same reasons and in the same manner as the previous two.(Bitsori
1507).All three paintings were eventually destroyed in May 1945 as retreating Nazi forces set
fire to the castle in Lower Austria where the painting were moved in 1943 for protection.(Bitsori
1508).

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His NudaVeritas in 1899 as part of the illustrations of the third edition of the periodical Ver
Sacrumalso quivered the establishment. Klimt boldly painted Eve, the prototype of woman. It is
not the apple that is seductive, but her body; she is displayed as she really is in her entirety, with
no detail concealed.A naked red-headed woman holds the mirror of truth and above it is a quote
by the German dramatist Schiller: "if you cannot please everyone with your deeds and your art,
please a few. To please many is bad." (Whitford 52), “…- announced that pleasing his clients
was not his priority anymore.” (Bitsori 1506).The second illustration of that edition is called Der
Neid.
The main theme in Klimt's work: Women. (Kransel 88).This theme exists parallel to the
contrasts that surrounded Klimt, and is intertwined into Klimt's idea of woman and female
sexuality. His search into the woman has led him to follow separate emotional and sexual lives.
Sexuality is a part of his work, Klimt's erotic drawings are of women as objects, voyeuristic
notions that exist for the spectator, a potential lover and voyeur; clothes not used to cover but to
disclose and dramatize. This may be manifesting an underlying anxiety of the artist: fear of the
danger of sexual attraction, of the destructive femme fatale side of women, and ultimately, of
castration in the Freudian sense. Klimt's subject choice of women was apparent very early in life,
his entrance exam for the Austrian Arts academy was a bust of a woman's head.
Klimt did not shy away from bluntly depicting the pregnant form, or the ravages of age, as seen
in The Beethoven Frieze (1902), Hope I (1903), Three Ages of Woman (1905), Hope II (1907-
08), and Death and Life (1908-11). These moving works of emotional sensitivity and faithful
rendering of the body au naturel were considered flagrantly offensive to the traditional moral
standards of those days. Particularly in The Beethoven Frieze (detail of the hostile forces),
according to Zeri interpretation, Klimt underlines the component of female provocation and

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domination, which is made grotesquely explicit by the insertion into the scene of a chimpanzee.
(20).
Ultimately, it is said that Klimt offendedthe public sentiment by not considering any part of the
human anatomy ugly, shameful or ignoble, and was made to suffer repeatedly for not playing the
national game of falsehood mounted in a traditional sense of Art.
Klimt's 'Golden Phase' was marked by positive critical reaction and success. Many of Klimt's
paintings from this period utilized gold leaf (his use of gold can first be traced back to Pallas
Athena in 1898 and Judith I in 1901) and the works most popularly associated with this period
are the Portrait of Adele Bloch-Bauer I in 1907 and The Kiss 1907-08 (widely considered to be
the greatest painting ever, better than even the Mona Lisa).
In Klimt's best known work: The Kiss, the beautifully rendered figures float dreamlike in space,
wrapped in an abstracted mosaic robe that veils graceful contours. The rhythmic flowing line and
organic forms of this particular painting greatly influenced what was to become known as the Art
Nouveau movement. The background of The Kiss consists of gold swirls; golden discs and
colored, geometrical patterns covering the couple's robes. The realistic treatment of their partly
visible heads and the woman's right hand balances the abstract patterns which dominate the
composition. Frank Whitford wrote: "the most celebrated of all the artist‟s paintings, seems to
embody Klimt‟s belief in the transforming power not only of sexual but also of art” (112).Zeri
explains The Kisssaying that the figures are joined in a decorative knot in which the vertical
rectangle pattern represents the man‟s rationalism, while the repetition of circular forms is
assigned to the woman, with an intentionally erotic allusion. (20).

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Another very famous painting was Judith I, at the time of its creation in 1901,it was considered
the incarnation of the femme fatale. In the Old Testament, Judith is a devout widow who
captivated with her beauty the attention of the Assyrian leader who was a deadly menace to her
people. At the meal in her honor, he drank so much wine that he fell asleep before he could touch
her. In his sleep, Judith killed him with his own sword, escaped with the help of a maid and
helped the Israelites defeat the Assyrians who were now without a leader. In the Christian
tradition, Judith was the allegory of the victory of chastity over vice and of humility over
arrogance. In Sigmund Freud's interpretation of 1917, Judith had killed the Assyrian because he
had taken her virginity. Cutting off his head was, according to Freud, a symbol for Holofernes'
castration. Berta Zuckerkandl wrote: “Klimt created an ideal type in his Vienesse woman: the
modern female, slender as an ephebe –he painted creatures of an enigmatic charm- the word
“vamp” was not yet known but Klimt created the type of a Greta Garbo, a Marlene Dietrich long
before they existed in reality.” (Frodl 77).
For the artists working at the turn of the century, Salome and not Judith was the incarnation of
the femme fatale. Judith's subversive ambivalence of the Renaissance in Klimt's painting largely
gave way to a sensual and erotic condition, being that Judith is an icon of femininity. Whatever
interpretation remains, it is clear that Judith I of 1901 is not only one of Klimt's best paintings,
but also one of the outstanding female portraits in art history.
The erotic style of the femme fatale also reflects the contemporary changes in the role of women
within social and economic activities during the early years of the 20th century. This example
can be seen in Klimt's Judith II, 1909, a second representation of the myth of Judith in
conjunction with Klimt's first rendering of this female icon. In this painting, Klimt realized the
destructive image of the femme fatale, much like a vampire or the image of Salome as

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representative of the rising social position of women. The issue of women's rights must also be
taken into consideration when viewing this painting, for at the time of its creation, men were
becoming quite concerned with this social topic which Klimt adroitly symbolized in this work
and many others. “In this second version, Judith II, Klimt further unites the roles of Salome and
Judith in a hybrid heroine with a rapacious air, whose nudity is there explicit, in contrast to the
veiled nudity of the first picture. Holofernes, more than a warrior, seems now to be the victim of
a merciless female power”. (Zeri 6).
In both Judith I and Judith II, the artistic image of the femme fatale, the deadly woman who takes
matters into her own hands, shows Klimt's tendency to render women as identification symbols.
But at the same time, Klimt began to change the image of women from not only the erotic
femme fatale but also into the idealized society lady. Although during his lifetime he was simply
regarded as a purveyor of the decadent, these paintings are now considered as typically
representative of decay and decline in modern society. In this context, the erotic femme fatale
image could be regarded as a sociopolitical and culturally progressive force. Thus, Klimt can be
viewed as an artist who contributed greatly to the liberation of women and the rediscovery of the
lost power of the erotic element.
A prime example of Klimt's experimental adjustment of planar shapes and plastic forms is the
painting Death and Life (1908 and 1911). Although this rendering also contains the images of
men, the woman in the top portion, nude and holding a naked male baby, illustrates Klimt's
artistic openness to fresh inspiration, ready and competent to assimilate form from outside his
own tradition in order to express a modern mood. This painting is quite typically Symbolist in
both content and form. Bright colors, mosaic-like or enamel-like, stud the surfaces that enwrap
the voluptuously somber figures, where intertwined images of infancy, youth, maturity and old

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age celebrate Life as bound up with love, especially through the nude woman holding the baby, a
symbol of the sexual act and of motherhood. Outlined shapes are modeled to the extent needed
toshow the softness of the woman's flesh and the firmness of her sinews. The cloak of the
fleshless Death is appropriately dark as night and only dimly decked with funeral black crosses
and mysterious symbols. While Life, sated with love as a direct result of motherhood, sleeps,
Death, its eternal enemy, wakes. Therefore, the grim interval between Life and Death will soon
be crossed.In 1911 his painting Death and Life received first prize in the world exhibitions in
Rome.
Metzger in his book refers toWater Snakes I also known as Friends I as“… perhaps Klimt‟s
most outstanding contribution to the realm of the collector‟s piece, of small format, intimate and
private objects for connoisseurs…” (122). The ethereal and underground qualities of the women
portrayed in this painting possibly influenced Metzger to write the following: “In this work,
Klimt integrated all the autoerotic and homoerotic imagery that he had committed to paper in the
studio. In many ways, he captured his models not only in the self-referentiality of masturbation,
but also in the self-referentiality of homosexual acts.” (122). These womenare young, their
beauty is blooming, but their happy grins might be evil, and they may belong to the most wicked
worlds. They are painted in water whichcould resemble the ancient Greek‟s Sirens who lured
sailors by their beautiful voices. These are women who lure men with their beautiful
bodies.These women may also turn even more manipulative and harmful, very similarto JudithII
who turned out to be Salome, a character in contrast to Judith I, Salome requested the head of
John the Baptist and committed a moral crime.

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4.-CONCLUSION
Klimt wrote little about his vision or his methods. He wrote mostly postcards to Emilie Flöge
and kept no diary. In a rare writing called "Commentary on a non-existent self-portrait", he
states: "No self-portrait of me is in existence. I am not interested in myself as the “subject of a
painting”. I am interested rather in other people, women in particular, and even more in other
subjects. I am not particularly interesting. There is nothing extraordinary to be seen in me. I am a
painter and I paint everyday from morning to evening. Human figures, landscapes more rarely
portraits. I am not at easewith the spoken word or the written word, even when it comes to
expressing something about my work or me. When I have to write even the simplest of letters, I
feel a sense of fear that is like seasickness. This is why there can be no self-portrait in my case
either artistic or literary. This there is no reason to regret. If anyone wants to know anything
about me as a painter –and that is the only question worthy of consideration- let him carefully
study my works and try to read in them what I am and what I wish for.”(Frodl 12).
In spite of all the criticism and controversies created by his works, Klimt‟sstrong artistic
presence seems to be enduring today more than ever;evidence of his immortal art can be
observed during the upcomingcommemorative Klimt's 150th birthday in Vienna 2012. The
people that visit Vienna willhave the pleasure to experience how this magnificent artist and his
contemporaries have affectedthemodern art‟s perspectiveand will appreciate theallure of
theirrevolutionary epochover time.

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WORKS CONSULTED
Bitsori, Maria and EmmanouilGalanakis. “Doctors Versus Artists: Gustav Klimt‟s „Medicine‟ “.
BMJ:British Medical Journal. Vol. 325, No. 7378 (Dec. 21 – 28, 2002), pp. 1506-1508.
Comini, Alessandra. “Fin-de-Siècle Vienna: Politics and Culture by Carl E. Schorske”.
The Art Bulletin, Vol. 63, No. 3 (Sep., 1981), pp. 521-523.
Daviau, Donald G. “Hermann Bahr and Gustav Klimt: A Chapter in the Breakthrough of
Modernity in Turn-of-the-Century Vienna”.German Studies Review, Vol. 3, No. 1
(Feb., 1980), pp. 27-49.
Di Stefano, Eva. Gustav Klimt. Art Nouveau Visionary.NY. Sterling Publishing Co.,Inc.
2008.
Fischer, Wolfgang. Gustav Klimt & Emilie Flöge.An Artist and his Muse.NY. The Overlook
Press.1992.
Florman, Lisa. “Gustav Klimt and the Precedent of Ancient Greece”.The Art Bulletin.
Vol. 72, No. 2 (Jun., 1990), pp. 310-326.
Frodl, Gerbert. Klimt. NY. Holt. 1992.
Grimberg, Salomon. “Gustav Klimt and Emilie Floge: An Artist and His Muse
by Wolfgang G. Fischer; Dorotea H. Ewan: Significant Others: Creativity and
Intimate Partnership by Whitney Chadwick; Isabell de Courtviron: Magnifying
Mirrors: Women, Surrealim, &Partnership byRenèeRiese Hubert”. Woman’s
Art Journal, Vol. 17, No. 2 (Autumn, 1996 – Winter, 1997), pp. 42-45.

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Johnson, Julie M. “Writing, Erasing, Silencing: Tina Blau and the (Woman) Artist‟s
Biography”.Nineteenth-Century Art Worldwide. Vol. 4, Issue 3. Autumn 2005.
Johnson, Julle M. “Athena goes to the Prater: Parodying Ancients and Moderns at
Vienna Secession”.Oxford Art Journal. Vol. 26, No. 2 (2003), pp. 49-69.
Kallir, Jane., and Alfred Weidinger, eds. Gustav Klimt. In search of the “Total Artwork”.
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Kransel, Nina. Gustav Klimt. NY. Prestel Verlag. 2007.
Marlowe-Storkovich, Tina. “ „Medicine‟ by Gustav Klimt”. ArtibusetHistoriae.Vol. 24.
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Nèret, Gilles. Gustav Klimt 1862-1918. Cologne. Ger. BenediktTaschenVerlagGnbH.2000.
Parstch,Susanna. Gustav Klimt. Painter of Women.NY. Prestel Verlag. 2008.
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Sàrmàny-Parsons, Ilona.“The Art Criticism of Ludwig Hevesi in the Age of Historicism”.
Austrian Studies, Vol. 16, No. 1 (Dec., 2008), pp. 87-104(18).

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Selz, Peter., and Mildred Constantine, eds. Art Nouveau: Art and design at the Turn of the
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Vergo, Peter. “Egon Schiele and His Contemporaries. London. Royal Academy Review.”
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Wagener, Mary L. “Gustav Klimt Women by Angelica Baumer”. Woman’s Art Journal.
Vol. 10, No. 1 (Spring – Summer, 1989), pp. 53-54.
Whitford, Frank. Klimt.NY. Thames and Hudson Inc.1998.
Zeri, Federico, ed. Klimt: Judith I. Ontario. Can. NDE Publishing.2000.