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Artists Gustav Klimt
Gustav Klimt Photo

Gustav Klimt

Austrian Painter

Movements and Styles: Symbolism, Art Nouveau, The Vienna Secession, The Wiener Werkstätte

Born: July 14, 1862 - Baumgarten, Austro-Hungarian Empire

Died: February 6, 1918 - Vienna, Austro-Hungarian Empire

Gustav Klimt Timeline


"Whoever wants to know something about me - as an artist which alone is significant - they should look attentively at my pictures and there seek to recognize what I am and what I want."
Gustav Klimt
"Sometimes I miss out the morning's painting session and instead study my Japanese books in the open."
Gustav Klimt
"There is no self-portrait of me."
Gustav Klimt
"There is nothing that special to see when looking at me. I'm a painter who paints day in day out, from morning till evening - figure pictures and landscapes, more rarely portraits."
Gustav Klimt
"Enough of censorship. I am having recourse to self-help. I want to get out."
Gustav Klimt, reflecting on the University of Vienna paintings controversy, 1905
"I can paint and draw. I believe this myself and a few other people say that they believe this too. But I'm not certain of whether it's true."
Gustav Klimt
"Even when I have to write a simple letter I'm scared stiff, as if faced with looming seasickness."
Gustav Klimt
"Today I want to start working again in earnest - I'm looking forward to it because doing nothing does become rather boring after a while."
Gustav Klimt

"All art is erotic."

Gustav Klimt Signature


Austrian painter Gustav Klimt had many quirks. Once, his patron Friederika Maria Beer-Monti came to his studio to have her portrait painted, wearing a flashy polecat jacket designed by Klimt's friends at the Wiener Werkstätte. One would think Klimt would approve, but instead he had her turn it inside out to expose the red silk lining, and that was how he painted her. But Klimt, Vienna's most renowned artist of the era, had the prestige to do this. He is still remembered as one of the greatest decorative painters of the 20th century, while also producing one of the century's most significant bodies of erotic art. Initially successful in his endeavors for architectural commissions in an academic manner, his encounter with more modern trends in European art encouraged him to develop his own highly personal, eclectic, and often fantastic style. As the co-founder and first president of the Vienna Secession, Klimt also ensured that this movement would become widely influential. Klimt never courted scandal, but the highly controversial subject matter of his work in a traditionally very conservative artistic center dogged his career. Although he never married, Klimt remains romantically linked to several mistresses, with whom he is said to have fathered fourteen children, despite his extreme discretion about his personal life.

Key Ideas

Klimt first achieved acclaim as a decorative painter of historical scenes and figures through his many commissions to embellish public buildings. He continued to refine the decorative qualities so that the flattened, shimmering patterns of his nearly-abstract compositions, what is now known as his "Golden Phase" works, ultimately became the real subjects of his paintings.
Though a "fine art" painter, Klimt was an outstanding exponent of the equality between the fine and decorative arts. Having achieved some of his early success by painting within a greater architectural framework, he accepted many of his best-known commissions that were designed to complement other elements of a complete interior, thereby creating a Gesamtkunstwerk ("total work of art"). Later in his career, he worked in concert with artists of the Wiener Werkstätte, the Austrian design organization that aimed to improve the quality and visual appeal of everyday objects.
Klimt was one of the most important founders of the Vienna Secession in 1897, and served as its initial president, though he was chosen less for his completed oeuvre - relatively small at that point - than his youthful personality and willingness to challenge authority. His forcefulness and international fame as the most famous Art Nouveau painter contributed much to the Secession's early success - but also the movement's swift fall from prominence when he left it in 1905.
Although Klimt's art is now widely popular, it was neglected for much of the 20th century. His works for public spaces provoked a storm of opposition in his own day, facing charges of obscenity due to their erotic content, eventually causing Klimt to withdraw from government commissions altogether. His drawings are no less provocative and give full expression to his considerable sexual appetite.
Despite his fame and generosity in mentoring younger artists, including Egon Schiele and Oskar Kokoschka, Klimt produced virtually no direct followers and his work has consistently been regarded as highly personal and singular, even up to the present day. However, his paintings share many formal and thematic characteristics with the Expressionists and Surrealists of the interwar years, even though many of them may not have been familiar with Klimt's art.


Gustav Klimt Photo


Born to Ernst Klimt, a gold engraver who was originally from Bohemia, and Anna Finster, an aspiring but unsuccessful musical performer, Gustav Klimt was the second of seven children raised in the small suburb of Baumgarten, southwest of Vienna. The Klimt family was poor, as work was scarce in the early years of the Habsburg Empire, especially for minority ethnic groups, due in large part to the 1873 stock market crash.

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Gustav Klimt Biography Continues

Important Art by Gustav Klimt

The below artworks are the most important by Gustav Klimt - that both overview the major creative periods, and highlight the greatest achievements by the artist.

The Auditorium of the Old Burgtheater (1888-89)

The Auditorium of the Old Burgtheater (1888-89)

Artwork description & Analysis: This was an important commission for Klimt's early career: the Vienna city council asked Klimt and his partner Franz Matsch to paint images of the old Burgtheater, the city's opera house - built in 1741 and slated for demolition after its replacement was finished in 1888 - as a record of the theater's existence. Unlike Matsch's counterpart to this picture, which shows the stage of the Burgtheater from a seat in the auditorium, Klimt's treatment does the exact opposite - a strange choice, but one that is quite significant architecturally, as it shows the full arrangements of loges and auditorium floor seats along with the ceiling decoration. It is typical of the academic style of Klimt's early work, and of the influence on him of Hans Makart.

When word of this commission was leaked to the public, many people begged Klimt to insert their portraits, however small, into the picture through special sittings with the artist, as being immortalized on canvas as a regular attendee at the Burgtheater constituted a tangible emblem of one's social status. As a result, the painting serves not only as a valuable record of the theater's architecture, but also essentially as a catalog of the city's political, cultural, and economic elites - over 150 individuals in all. Among the audience members are Austria's Prime Minister; Vienna's Mayor; the surgeon Theodor Billroth; the composer Johannes Brahms; and the Emperor's mistress, the actress Katherina Schratt. Though the subject is appropriate for a history painting, its dimensions (the width, its longest side, measures less than 37 inches) are diminutive, making the precision of Klimt's individual portraits all the more impressive. Critics at the time agreed, as Klimt was awarded the coveted Emperor's Prize in 1890 for this painting, which significantly raised his profile within the Viennese art community, and a flurry of other important public commissions for buildings on the Ringstrasse soon followed.

Gouache on paper - The Historical Museum of Vienna

Pallas Athene (1898)

Pallas Athene (1898)

Artwork description & Analysis: Though the Secessionists were known as a group that attempted to break with artistic traditions, their relationship with the past was more complex than a simple forward-looking mentality. Klimt, along with many of his fellow painters and graphic artists, cultivated a keen understanding of the symbolic nature of mythical and allegorical figures and narratives from Greece, Rome, and other ancient civilizations. With his soft colors and uncertain boundaries between elements, Klimt begins the dissolution of the figural in the direction of abstraction, that would come to full force in the years after he left the Secession. This painting exudes thus a sensory conception of the imperial, powerful presence of the Greco-Roman goddess of wisdom, Athena, and the inability of humans to full grasp that, rather than a crisp, detailed visual summation of her persona.

Also significantly, the hazy quality of the image allows Klimt to emphasize the goddess' androgynous character, a blurring of gender identity that was featured in ancient descriptions and depictions of her, and explored by many other artists and cultural luminaries at the turn of the century. She is dressed in the military regalia that traditionally identifies her as a warrior and the protector of her eponymous city, Athens - qualities normally associated with masculinity. Only the strands of hair that thinly drape down from each side of her neck (and almost blend with the golden color of her helmet and breastplate) give a hint as to her femininity. Barely visible at the left side of the painting, she holds the nude figure of Nike, representing victory, arguably the only clear feminine reference in the work.

The haziness evokes the contemporaneous exploration of dreams by Sigmund Freud, whose seminal work on the subject would be published in Vienna just two years later. It is tempting to read Klimt's painting in the context of Freud's view of dreams as the fulfillment of wishes, which might suggest that the powerful, imperious woman is the object of male desire, but also potentially that the traditional feminine persona must be costumed in order to attain such powerful status.

Oil on canvas - Collection of the Wien Museum, Vienna

Medicine (1900-1901)

Medicine (1900-1901)

Artwork description & Analysis: In 1894, Klimt was commissioned by the Ministry of Culture to provide paintings for the new Great Hall of the University of Vienna, recently constructed on the Ringstrasse. Klimt's job was to paint three monumental canvases concerning the themes of Philosophy, Medicine, and Jurisprudence, respectively. By the time Klimt began painting the canvases four years later, however, he had joined the Secession and abandoned the naturalism of the Old Burgtheater to challenge the conventional subject matter. The overarching theme that was supposed to unify the three University paintings was "the triumph of light over darkness," within which Klimt was granted a free hand. None of the finished products, however, conveys this theme with any degree of clarity. Medicine, the second of the three to be unveiled, was the canvas that caused the most controversy.

This detail from Medicine shows the figure of Hygeia, the mythological daughter of the god of medicine, who was located at the bottom center of the canvas and identified by an accompanying snake and the cup of Lethe. Above Hygeia rose a tall column of light, to the right of which rose a web of nude figures intertwined with the skeleton of Death. To the other side of the light column floated a nude female whose pelvis was thrust forward, while below her feet floated an infant (to whom she might have just given birth) wrapped in a swath of tulle. The imagery provoked a storm of criticism on two levels. First, faculty and Ministry officials charged that it was pornographic, particularly the female with the thrusting pelvis - thereby demonstrating the stodginess of Vienna's cultural community. Second - perhaps a more valid argument - the painting did nothing to illustrate the themes of medicine, either as a preventative or healing tool. The acrimonious response to Klimt's works eventually prompted him, in 1905, to buy back the three works for 30,000 crowns with the help of his patron August Lederer, who received Philosophy in return.

Klimt's work proves difficult to decipher, and it appears that one of his goals with the painting was to show the ambiguity of human life, simultaneously representing the themes of birth and death. In some ways, it proves highly ironic, as Vienna at the time was one of the major centers of medical research: along with Sigmund Freud, who had just published The Interpretation of Dreams (1899), it was home to the pioneering abdominal surgeon Theodor Billroth. In this respect, Medicine demonstrates how, despite the great inroads the Secession had made in the four years since its founding, the movement had not decisively overturned conservative attitudes towards modern art in Vienna. For Klimt, the entire affair represented an ultimate public humiliation and rejection; he did not exhibit in Vienna for five years after 1903, and he swore off official commissions and withdrew to take on only private portrait commissions or landscapes for the remainder of his career. His trio of University paintings, born into a firestorm of controversy, met their own fiery fate as they found their way into the collections of Jews and became three of Klimt's many works confiscated by the Nazis. They were incinerated in May 1945 inside the Schloss Immendorf, the lower Austrian castle where they had been stored, by retreating SS troops.

Oil on canvas - Destroyed in 1945

More Gustav Klimt Artwork and Analysis:

The Beethoven Frieze (1902) Adele Bloch-Bauer I (1903-1907) The Kiss (1907-08) The Park (1909-10) Nude Figure (ca. 1913-14)

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Influences and Connections

Influences on Artist
Artists, Friends, Movements
Influenced by Artist
Artists, Friends, Movements
Gustav Klimt
Interactive chart with Gustav Klimt's main influences, and the people and ideas that the artist influenced in turn.
View Influences Chart


Hans MakartHans Makart
Margaret MacDonaldMargaret MacDonald
Max KlingerMax Klinger

Personal Contacts

Adolf LoosAdolf Loos
Franz MatschFranz Matsch
Emilie FlogeEmilie Floge
Josef HoffmannJosef Hoffmann



Influences on Artist
Gustav Klimt
Gustav Klimt
Years Worked: 1880 - 1917
Influenced by Artist


Egon SchieleEgon Schiele
Oskar KokoschkaOskar Kokoschka
Theo van DoesburgTheo van Doesburg

Personal Contacts

Josef HoffmannJosef Hoffmann
Joseph Maria OlbrichJoseph Maria Olbrich
Koloman MoserKoloman Moser
Otto WagnerOtto Wagner


The Vienna SecessionThe Vienna Secession
The Wiener WerkstätteThe Wiener Werkstätte
Art NouveauArt Nouveau

Useful Resources on Gustav Klimt

Special Features





artist features

Gustav Klimt and "50 Shades of Grey"

Entry on Art Story Blog

Klimt and Egon Schiele Intertwined Fates in Paint

Student-mentor relationship that evolved into groundbreaking art, parody, and love triangles - on The Art Story Blog

The books and articles below constitute a bibliography of the sources used in the writing of this page. These also suggest some accessible resources for further research, especially ones that can be found and purchased via the internet.


Klimt (World of Art) Recomended resource

By Frank Whitford

Gustav Klimt: Painter of Women (Pegasus Series)

By Susanna Partsch

Gustav Klimt: In Search of the Total Artwork

By Jane Kallir

Gustav Klimt: Art Nouveau Visionary Recomended resource

By Eva di Stefano

More Interesting Books about Gustav Klimt
The Life and Work of Gustav Klimt Recomended resource

Websites with many artworks and excellent timeline

The Klimt Collection

Reproductions of Klimt's works in New York City

Lauder's Openness Is Sought on Artwork

By Robin Pogrebin
The New York Times
18 October 2007

Klimts Go to Market; Museums Hold Their Breath Recomended resource

By Michael Kimmelman
The New York Times
19 September 2006

4 Returned Klimt Works Heading to Auction

By Carol Vogel
The New York Times
16 September 2006

All that glitters is golden: $135 million selling price for Klimt makes perfect sense Recomended resource

By Alan G. Artner
The Chicago Tribune
22 June 2006

More Interesting Articles about Gustav Klimt


Sensualist With a Cause in Old Vienna Recomended resource

By Roberta Smith
The New York Times
19 October 2007

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