The Lady in Gold (53 page)

  
1
“DREADED DRAMATIC CRITIC”:
New Music Review and Church Music Review
13 (1906): 12.

  
2
ONE VICTIM WAS:
Jacques Kornberg,
Theodor Herzl: From Assimilation to Zionism
(Bloomington: Indiana University Press, 1993), pp. 169–70.

  
3
“AS TRULY AS AN ITCHING OF THE HEAD”:
Wilma Abeles Iggers,
Karl Kraus: A Viennese Critic of the Twentieth Century
(The Hague: Martinus Nijhoff, 1967), p. 43.

  
4
“I AM SURE YOU THOUGHT”:
Adele Bauer, letter to Julius Bauer, Aug. 22, 1903, in the holdings of the Austrian National Library.

  
5
“IT WAS SOMETIMES NOT ‘SAFE' ”:
Weidinger,
Gustav Klimt,
p. 212.

  
6
“THE MOST SWEET-SCENTED POETRY”:
Natter and Frodl,
Klimt's Women,
p. 98.

  
7
“THE STILL HALF-CLOSED BUD”:
Ibid.

  
8
“BEAUTIFUL JEWISH
JOURDAME
”:
Brandstätter,
Vienna 1900,
p. 30.

  
1
“SURPASSING IN INTELLIGENCE”:
Helen Gardner,
Gardner's Art Through the Ages: The Western Perspective
(Australia; Florence, KY: Wadsworth/Cengage Learning, 2010), p. 240.

  
2
THEODORA HAD ALREADY BEEN:
James Allen and Stewart Evans,
The Empress Theodora, Partner of Justinian
(Austin: University of Texas Press, 2004), p. 114.

  
3
“NEITHER DID ANYTHING”:
Richard Atwater,
The Sacred History of Procopius
(Ann Arbor: University of Michigan Press, 1961), p. 47.

  
4
“MOSAICS OF UNBELIEVABLE SPLENDOR”:
Natter and Frodl,
Klimt's Women,
p. 115.

  
1
“YOU CANNOT RECEIVE KNOWLEDGE”:
Letter from Adele Bloch-Bauer to her nephew Robert Bentley (then Bloch-Bauer), ca. Aug. 1921. Translated by Barbara Zaisl Schoenberg.

  
2
“BY A SMALL GROUP OF MODERNS”; “GREAT MAN”; “THE TRUTH OF HIS OWN SOUL”:
Szeps,
My Life,
p. 179.

  
3
“AS AN ANATOMIST”:
Ibid., p. 166.

  
4
SHE WAS ORDERED TO SIT:
Berkley,
Vienna and Its Jews,
p. 20.

  
5
EMIL HAD TO CALL SECURITY:
Szeps,
My Life,
p. 167.

  
6
EMIL MADE FRÄULEIN BIEN:
Weidinger,
Gustav Klimt,
p. 228.

  
7
“THE MOST MARVELOUS AND WITTY WOMAN”:
Szeps,
My Life,
p. 163.

  
8
“A HUSBAND AND WIFE”:
Henry-Louis de La Grange,
Gustav Mahler: Letters to His Wife
(Ithaca, NY: Cornell University Press, 2004), p. 82.

  
9
“CULTURAL CHATTERBOX”:
Edward Timms,
Karl Kraus, Apocalyptic Satirist: The Post-War Crisis and the Rise of the Swastika
(New Haven, CT: Yale University Press, 2005), p. 115.

10
“DEGENERATE WOMEN'S EMANCIPATION FIT”:
Brigitte Hamann,
Hitler's Vienna: A Portrait of the Tyrant as a Young Man
(New York: Oxford University Press, 2000), p. 82.

11
“THE SEXUAL IMPULSE DESTROYS”:
Otto Weininger,
Sex and Character
(New York: Howard Fertig, 2003), p. 249.

12
“NOT ONLY OF THE LOGICAL RULES”:
Ibid., p. 195.

13
“THERE IS NO FEMALE GENIUS”:
Ibid., p. 131.

14
“THE DEGENERATES BABBLE”:
Hamann,
Hitler's Vienna,
p. 83.

  
1
“IN HIS JUDITH”:
Partsch,
Gustav Klimt: Painter of Women,
p. 81.

  
2
“I BECOME THE PERSON”:
Arthur Schnitzler,
The Seduction Comedy,
in
Three Late Plays,
trans. G. J. Weinberger (Riverside, CA: Ariadne Press, 1992), p. 128.

  
3
“DID I EVER HAVE TO BEG?”:
Ibid.

  
4
“MY HOUSE STANDS ALONE”:
Ibid.

  
5
“THE POLICE WILL COME”:
Ibid., p. 138.

  
6
“JUST AS CORREGIO PAINTED”:
Ibid.

  
7
“DON'T REFUSE ME”:
Ibid., p. 136.

  
8
“TO EMBRACE HIM OR KILL HIM?
” Ibid., p. 209.

  
9
“ALIVE WITH THE LAMENTATION”:
Ibid.

10
“SMOTHERED IN FLOWERS”:
Ibid., pp. 209–10.

11
“AND THEN I EXPERIENCED IT”:
Ibid., p. 209.

12
AN EROTIC KLIMT DRAWING:
Klimt,
Standing Nude,
copy provided by Salomon Grimberg from the 1973 Klimt show at the Piccadilly Gallery in London.

  
1
HIS SURNAME WAS CHOSEN:
Hamann,
Hitler's Vienna,
pp. 43–44.

  
2
IN LINZ, HITLER STUDIED:
Ibid., p. 15.

  
3
“THE LIMITS OF MY LANGUAGE”:
J. Mark Lazenby,
The Early Wittgenstein on Religion
(London: Continuum, 2006), p. 47.

  
4
“FOR HOURS AND HOURS”:
Adolf Hitler,
Mein Kampf
(Mumbai: Jaico Publishing House, 2003), p. 30.

  
5
“CHILD'S PLAY”:
Hamann,
Hitler's Vienna,
p. 32.

  
6
“I WAS SO CONVINCED”:
Hitler,
Mein Kampf,
p. 30.

  
7
“FOR THE FIRST TIME”:
Ibid., p. 31.

  
8
AS HE BECAME AN INCREASINGLY DOWN-AND-OUT ARTIST:
Hamann,
Hitler's Vienna,
p. 159.

  
9
LUEGER RAILED AGAINST:
Robert A. Michael,
A Concise History of American Anti-Semitism
(Lanham, MD: Rowman & Littlefield, 2005), p. 112.

10
“JEWISH YOUTH IS REPRESENTED EVERYWHERE”:
Hamann,
Hitler's Vienna,
p. 80.

11
“NOTHING BUT CRIPPLED DAUBING”:
Ibid.

12
“ART REVIEWS IN WHICH ONE JEW SCRIBBLED”:
Ibid., p. 81.

13
“THIS RACE SIMPLY HAS A TENDENCY”:
Ibid.

14
“ODOUR OF THOSE PEOPLE”:
Hitler,
Mein Kampf,
p. 63.

15
“THE HOUR OF FREEDOM”:
Hamann,
Hitler's Vienna,
p. 129.

16
“TURNED INTO THE GREATEST BLESSING”:
Ibid., p. 135.

17
“DEPRIVED OF THE RIGHT”:
Ibid., p. 404.

  
1
IT MADE ADELE, AT TWENTY-SIX:
Natter and Frodl,
Klimt's Women,
p. 115.

  
2
“THE EXPRESSION ‘VAMP' ”:
Szeps,
My Life,
p. 180.

  
3
“A RAPTUROUS FEELING”:
Weidinger,
Gustav Klimt,
p. 285.

  
4
“PAINTED MOSAIC”:
Ludwig Hevesi, “Gustav Klimt und die Malmosaik,” printed in
Kunstchronik,
1906–1907, no. 33 (Sept. 27).

  
5
“SECOND SOCIETY”:
Schorske,
Fin de Siècle Vienna,
p. 45 (“that ‘second society,' sometimes called ‘the mezzanine,' where the bourgeois on the way up met the aristocrats willing to accommodate new forms of social and economic power”).

  
6
“THEY HAVE A GREAT LONGING”:
Natter and Frodl,
Klimt's Women,
p. 63.

  
7
“WHETHER HER NAME IS HYGIEIA OR JUDITH”:
Spiel,
Vienna's Golden Autumn,
p. 68.

  
8
“
LA BELLE JUIVE
”:
Natter and Frodl,
Klimt's Women,
pp. 68, 69.

  
9
“THE NEW VIENNESE WOMAN”:
Metzger,
Gustav Klimt: Drawings and Watercolors,
p. 239.

10
AS WAS DONE IN RELIGIOUS ART:
Koja,
Gustav Klimt: Landscapes,
p. 153.

  
1
“THE YOUNG NO LONGER”:
Neret and Scott-Stokes,
Gustav Klimt,
p. 65.

  
2
“MUCH TOO MUCH”:
Alessandra Comini,
In Passionate Pursuit: A Memoir
(New York: George Braziller, 2004), p. 29.

  
3
“RESULTS GOOD”:
Weidinger,
Gustav Klimt,
p. 227.

  
4
“A VERY BEAUTIFUL EXISTENCE”:
Postcard to Emilie Flöge, Sept. 27, 1911, quoted in Hubertus Czernin,
Die Falschung, der Fall Bloch-Bauer und das Werk Gustav Klimts
(Vienna: Czernin Verlag, 1999), p. 65.

  
5
“A MIXTURE OF RAIN AND SUN”:
Postcard to Emilie Flöge, Sept. 28, 1911, quoted ibid.

  
6
“ARRIVED WELL”:
Postcard to Emilie Flöge, Nov. 15, 1912, quoted ibid.

  
7
“AN ALMOST PATHOLOGICAL SENSITIVITY”:
Koja,
Gustav Klimt: Landscapes,
p. 37.

  
8
“I AM LESS INTERESTED”:
Whitford,
Klimt,
p. 18.

  
9
“LITTLE PLEASURE FOR WORK”:
Koja,
Gustav Klimt: Landscapes,
p. 142.

10
“I'LL PAINT MY GIRL”:
Bachofen-Echt,
Memoir.

11
“SLAVING AWAY”:
Weidinger,
Gustav Klimt,
p. 225.

12
“WORK PROCEEDING SLOWLY”:
Ibid., p. 227.

13
“ARTISTICALLY SUPER ROTTEN”:
Ibid.

14
“REALLY GETTING ON MY NERVES”:
Ibid.

15
“WEARINESS AND SUFFERING”:
Ibid.

16
“I DID NOT KNOW”:
Ibid., p. 210.

17
“WHY IS KLIMT”:
Ibid., p. 227.

18
“A. BAUER”:
Renée Price, ed.,
Gustav Klimt: The Ronald S. Lauder and Serge Sabarsky Collections
(New York: Neue Galerie/Prestel, 2007), p. 217.

19
“ART HAS LOST SOMETHING”:
Weidinger,
Gustav Klimt,
p. 227.

20
“HE DIED OF SYPHILIS”:
Ibid., p. 210.

21
“TO THINE OWN SELF”:
Datebook of Adele Bloch-Bauer, Auersperg family archives.

22
“I WAS PARALYZED”:
Bachofen-Echt,
Memoir.

23
“HE HAS ENTERED INTO THE CENTRE”:
Natter and Frodl,
Klimt's Women,
p. 56.

  
1
SHE TOLD PEOPLE SHE WAS A SOCIALIST:
Jonathan Petropolous, “Report of Professor Jonathan Petropolous, Claremont McKenna College,” July 14, 2005,
http://www.adele.at/Report_Prof_Jonathan_Petropou/Petropoulos.pdf
, p. 2.

  
2
“A SPECULATOR, AN EXPLOITER”:
Mahler and Ashton,
And the Bridge Is Love,
p. 30.

  
3
“IF FATE HAS GIVEN ME FRIENDS”:
Letter from Adele to her nephew Robert Bentley for his eighteenth birthday, ca. Aug. 1921.

  
4
“I THINK THAT IN MEMORY”:
Adele Bloch-Bauer, letter to Franz Martin Haberditzl, Nov. 9, 1919. Courtesy of Gottfried Toman.

  
5
LIKE MANY VENERABLE VIENNESE INSTITUTIONS:
Stephen Brook,
Vanished Empire: Vienna, Budapest, Prague
(New York: William Morrow, 1990), p. 1.

  
6
“I ASK MY HUSBAND AFTER HIS DEATH”:
District Court, Vienna Inner City Court Section II, Jan. 31, 1925.

  
7
“GOETHE WRITES IN
TORQUATO TASSO
”:
Adele Bloch-Bauer to her nephew Robert Bentley, ca. Aug. 1921.

  
8
THE “TENDER” AND THE “SENSUAL”:
Peter Gay,
Schnitzler's Century: The Making of Middle-Class Culture, 1815–1914
(New York: W. W. Norton, 2002), p. 59.

  
1
“BEWARE OF CRITICIZING”:
Adele Bloch-Bauer to her nephew Robert Bentley, ca. Aug. 1921.

  
2
WITH REGARDS TO OTHERS”:
Ibid.

  
3
“I'M STILL DAZED”:
Letter from Alma Mahler to Alban Berg, quoted in Martina Steiger,
“Immer wieder werden mich Thatige Geister verlocken”: Alma Mahler-Werfels Briefe an Alban Berg und seine Frau
(Vienna: Siefert, 2008), p. 126.

  
1
“CULTURED AND EDUCATED”:
Gloria Sultano and Patrick Werkner,
Oskar Kokoschka: Kunst und Politik, 1937–1950
(Vienna: Böhlau Verlag, 2003), p. 53.

  
2
BY THEN HE HAD SERVED:
Czernin,
Die Falschung,
p. 23.

  
3
“WELCOMED ANYTHING NEW”:
Ibid., p. 49.

  
4
“THE OLD MOSES OF REMBRANDT”:
Sultano and Werkner,
Oskar Kokoschka,
p. 123.

  
5
“VERY DIFFERENTLY FROM HOW”:
Ibid.

  
6
“HE FOUND IT VERY TRUE”:
Ibid.

  
7
“OUR UNCLE FERDINAND”:
Ibid., p. 51.

  
8
THE SHOW'S NOTORIETY:
Jonathan Petropoulos,
Art as Politics in the Third Reich
(Chapel Hill: University of North Carolina Press, 1996), pp. 55–56.

  
9
“PERVERSE JEWISH SPIRIT”:
Peter Adam,
Art of the Third Reich
(New York: Harry N. Abrams, 1992), p. 123.

10
KOKOSCHKA WAS ALREADY THREATENING:
Klaus Albrecht Schroeder, Johann Winkler, and Christopher Asandorf,
Oskar Kokoschka,
part 2 (Munich: Prestel, 1991), p. 223.

11
ERNST ASKED FERDINAND:
Sultano and Werkner,
Oskar Kokoschka,
p. 68.