The spellbinding story, part fairy tale, part suspense, of Gustav Klimt’s Portrait of Adele Bloch-Bauer, one of the most emblematic portraits of its time; of the beautiful, seductive Viennese Jewish salon hostess who sat for it; the notorious artist who painted it; the now vanished turn-of-the-century Vienna that shaped it; and the strange twisted fate that befell it.
 
The Lady in Gold, considered an unforgettable masterpiece, one of the twentieth century’s most recognizable paintings, made headlines all over the world when Ronald Lauder bought it for $135 million a century after Klimt, the most famous Austrian painter of his time, completed the society portrait.
 
Anne-Marie O’Connor, writer for The Washington Post, formerly of the Los Angeles Times, tells the galvanizing story of the Lady in Gold, Adele Bloch-Bauer, a dazzling Viennese Jewish society figure; daughter of the head of one of the largest banks in the Hapsburg Empire, head of the Oriental Railway, whose Orient Express went from Berlin to Constantinople; wife of Ferdinand Bauer, sugar-beet baron.
 
The Bloch-Bauers were art patrons, and Adele herself was considered a rebel of fin de siècle Vienna (she wanted to be educated, a notion considered “degenerate” in a society that believed women being out in the world went against their feminine “nature”). The author describes how Adele inspired the portrait and how Klimt made more than a hundred sketches of her—simple pencil drawings on thin manila paper.
 
And O’Connor writes of Klimt himself, son of a failed gold engraver, shunned by arts bureaucrats, called an artistic heretic in his time, a genius in ours.
 
She writes of the Nazis confiscating the portrait of Adele from the Bloch-Bauers’ grand palais; of the Austrian government putting the painting on display, stripping Adele’s Jewish surname from it so that no clues to her identity (nor any hint of her Jewish origins) would be revealed. Nazi officials called the painting, The Lady in Gold and proudly exhibited it in Vienna’s Baroque Belvedere Palace, consecrated in the 1930s as a Nazi institution.
 
The author writes of the painting, inspired by the Byzantine mosaics Klimt had studied in Italy, with their exotic symbols and swirls, the subject an idol in a golden shrine.
 
We see how, sixty years after it was stolen by the Nazis, the Portrait of Adele Bloch-Bauer became the subject of a decade-long litigation between the Austrian government and the Bloch-Bauer heirs, how and why the U.S. Supreme Court became involved in the case, and how the Court’s decision had profound ramifications in the art world.
 
A riveting social history; an illuminating and haunting look at turn-of-the-century Vienna; a brilliant portrait of the evolution of a painter; a masterfully told tale of suspense. And at the heart of it, the Lady in Gold—the shimmering painting, and its equally irresistible subject, the fate of each forever intertwined.
Za każdym wielkim dziełem sztuki kryje się wielka tajemnica... Oto burzliwa historia jednego z najsłynniejszych obrazów Gustava Klimta, portretu Adeli Bloch-Bauer, który stał się przedmiotem najsłynniejszego procesu o zwrot mienia zagrabionego w czasie II wojny światowej.

Wiedeń, początek dwudziestego wieku. Młoda i piękna Adele Bloch-Bauer, pochodząca z jednej z najbogatszych żydowskich rodzin w mieście, wbrew ówczesnym obyczajom pragnie być kimś więcej niż ozdobą u boku swojego męża. Nie zraża jej powszechna opinia, że wyedukowane, samodzielne kobiety stanowią „wynaturzenie”. Wojnę konwenansom wypowiada również Gustav Klimt, pochodzący z biednej rodziny artysta, uwielbiany przez kobiety, zaś wśród krytyków sztuki nazywany heretykiem. Dzięki spotkaniu tych dwojga powstanie obraz, który z czasem zostanie okrzyknięty „austriacką Moną Lisą”.
Anne-Marie O'Connor, odsłaniając kulisy powstania jednego z arcydzieł sztuki ubiegłego stulecia, maluje barwny obraz epoki, zarówno środowiska wiedeńskich salonów, jak i środowiska artystów. Przedstawia burzliwe losy obrazu podczas drugiej wojny światowej, kiedy to naziści odebrali go rodzinie Bloch-Bauerów; opisuje, jak cenny portret przechodził z rąk do rąk, aż wreszcie upomniała się o niego prawowita spadkobierczyni – Maria Altmann, wytaczając Austrii bezprecedensowy proces o zwrot zagrabionego mienia.

Na podstawie książki w 2015 roku powstał film pod tym samym tytułem z Helen Mirren i Rayanem Reynoldsem w rolach głównych.

Wnikliwa opowieść o najsłynniejszym obrazie Gustava Klimta, ukazująca relacje między artystą i jego modelką, między spadkobiercami i tymi, którzy przywłaszczyli sobie dzieło sztuki.
„Kirkus Reviews”

Połączenie reportażu i emocjonującej opowieści. Przyglądając się wędrówce portretu, odkrywamy, jak zmieniały się światowe standardy odnośnie do sztuki i wojny, oraz znaczenie roli sztuki w kształtowaniu polityki, społeczeństwa, tożsamości i pamięci.
„The Rumpus”


Anne-Marie O’Connor – amerykańska pisarka i dziennikarka. Przez dwanaście lat pracowała jako korespondent zagraniczny Agencji Reutera. Na łamach „Los Angeles Times” opisywała działalność karteli narkotykowych w Meksyku. W tej gazecie w 2001 r. ukazał się jej pierwszy reportaż o próbach odzyskania austriackich dzieł sztuki przez Marię Altmann. Anne-Marie O’Connor pisała artykuły także dla takich gazet jak „Esquire”, „The Nation”, oraz „The Christian Science Monitor”. Obecnie mieszka w Jerozolimie, gdzie pracuje jako reporter „The Washington Post”.
The Lady in Gold, considered an unforgettable masterpiece, one of the twentieth century's most recognizable paintings, made headlines all over the world when Ronald Lauder bought it for $135 million a century after Klimt, the most famous Austrian painter of his time, completed the society portrait. Anne-Marie O'Connor, writer for the Washington Post, formerly of the Los Angeles Times, tells the galvanizing story of the Lady in Gold, Adele Bloch-Bauer, a dazzling Viennese Jewish society figure; daughter of the head of one of the largest banks in the Hapsburg Empire, head of the Oriental Railway, whose Orient Express went from Berlin to Constantinople; wife of Ferdinand Bauer, sugar-beet baron. The Bloch-Bauers were art patrons, and Adele herself was considered a rebel of fin de siecle Vienna (she wanted to be educated, a notion considered "degenerate" in a society that believed women being out in the world went against their feminine "nature"). The author describes how Adele inspired the portrait and how Klimt made more than a hundred sketches of her-simple pencil drawings on thin manila paper. And O'Connor writes of Klimt himself, son of a failed gold engraver, shunned by arts bureaucrats, called an artistic heretic in his time, a genius in ours. She writes of the Nazis confiscating the portrait of Adele from the Bloch-Bauers' grand palais; of the Austrian government putting the painting on display, stripping Adele's Jewish surname from it so that no clues to her identity (nor any hint of her Jewish origins) would be revealed. Nazi officials called the painting, "The Lady in Gold" and proudly exhibited it in Vienna's Baroque Belvedere Palace, consecrated in the 1930s as a Nazi institution. The author writes of the painting, inspired by the Byzantine mosaics Klimt had studied in Italy, with their exotic symbols and swirls, the subject an idol in a golden shrine. We see how, sixty years after it was stolen by the Nazis, the Portrait of Adele Bloch-Bauer became the subject of a decade-long litigation between the Austrian government and the Bloch-Bauer heirs, how and why the U.S. Supreme Court became involved in the case, and how the Court's decision had profound ramifications in the art world. In this book listeners will find riveting social history; an illuminating and haunting look at turn-of-the-century Vienna; a brilliant portrait of the evolution of a painter; a masterfully told tale of suspense. And at the heart of it, The Lady in Gold-the shimmering painting, and its equally irresistible subject, the fate of each forever intertwined.
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