The Lady in Gold (52 page)

  
1
KLIMT'S VIENNESE MOTHER, ANNA:
Pirchan,
Gustav Klimt,
p. 13.

  
2
“THERE WASN'T EVEN ANY BREAD”:
Whitford,
Klimt,
p. 24.

  
3
“RELIGIOUS MADNESS”:
Pirchan,
Gustav Klimt,
p. 44.

  
4
AN IMPORTANT MENTOR, PROFESSOR FERDINAND LAUFBERGER:
Gilles Neret and Charity Scott-Stokes,
Gustav Klimt: 1862–1918
(Cologne: Taschen, 2002), p. 9.

  
5
“HE WAS NOT NATURALLY”:
Alfred Weidinger,
Gustav Klimt
(Munich: Prestel, 2007), p. 211.

  
6
“GUSTL, WHY DON'T YOU KNOW HOW”:
Pirchan,
Gustav Klimt,
p. 19.

  
7
“WHAT SEDUCERS YOU ARE
!” Ibid., p. 25.

  
8
SERENA PULITZER:
Tobias Natter and Gerbert Frodl,
Klimt's Women
(Vienna: Österreichische Galerie Belvedere, 2000), p. 90.

  
9
WHEN THE OMISSION WAS NOTICED:
Morton,
A Nervous Splendor,
p. 169.

10
BUT AS SOMEONE WOULD REMARK:
Ibid.

11
IN A DAZE OF ASTONISHMENT AND RELIEF:
Ibid., p. 168.

12
“IS IT WE WHO ARE STUPID”:
Pirchan,
Gustav Klimt,
p. 24.

13
“PUT THEIR FATE”:
Gustav Klimt, letter to Mizzi Zimmermann. Courtesy of Gustav Zimmermann.

  
1
“AS IF THEY WERE SLIGHTLY TIPSY”:
Zweig,
World of Yesterday,
p. 69.

  
2
“LACED INTO A WASP'S SHAPE”:
Ibid., p. 64.

  
3
THE BAUERS LIVED IN AN APARTMENT:
Sophie Lillie and Georg Gaugusch,
Portrait of Adele Bloch-Bauer
(New York: Neue Galerie Museum for German and Austrian Art, 2007), p. 20.

  
4
OWNED BY HERMINE WITTGENSTEIN:
Allan Janik and Stephen Toulmin,
Wittgenstein's Vienna
(New York: Simon & Schuster, 1973), p. 172.

  
5
“YOU DON'T HAVE TO BECOME AN ART EXPERT”:
Adele Bloch-Bauer, letter to her nephew Robert for his eighteenth birthday, ca. Aug. 1921.

  
6
“YOU HAVE TO DEVELOP”:
Adele Bloch-Bauer, letter, ca. Aug. 1921.

  
7
“TODAY, I TRIED TO REACH YOU”:
Moritz Bauer letter, July 1901, Historical Association of Deutsche Bank,
Bank and History Historical Review,
Mar. 2007, no. 13, p. 1.

  
8
JEWISH MODERNIZERS:
Austrian National Library,
Hof- und Staats-handbuch der össterreichisch-ungarischen Monarche;
also Vienna State Archive, List of Orders.

  
9
GUSTAV BLOCH, AN ATTORNEY:
Gustav Rinesch, 191-page unpublished memoir, written after World War II. Courtesy of Alexander Rinesch, private archive.

10
“IN ORDER TO PROTECT YOUNG GIRLS”:
Zweig,
World of Yesterday,
p. 68.

11
“AND WHEN IT IS TIME”:
Brigitte Hamann,
The Reluctant Empress
(New York: Knopf, 1986), p. 370.

12
“HOW CAN YOU KILL”:
Ibid.

13
“HAND-IN-HAND TO THE ALTAR”:
Family poem, probably by Julius Bauer, Auersperg Family Archive.

  
1
“ART OF THE SOUL”:
Christian Brandstätter, ed.,
Vienna 1900: Art, Life and Culture
(New York: Vendome Press, 2006), p. 91.

  
2
“DICTATORSHIP OF EXHIBITIONS”:
Koja,
Gustav Klimt: Landscapes,
p. 145.

  
3
“PAINTINGS THAT GO WITH THE FURNITURE”:
Siegfried Matt and Werner Michael Schwarz,
Felix Salten: Schriftsteller—Journalist—Exilant
(Vienna: Holzhausen Verlag, 2006), p. 82.

  
4
“BUSINESS OR ART”:
Koja,
Gustav Klimt: Landscapes,
p. 147.

  
5
“LET THE ARTIST SHOW HIS WORLD”:
Brandstätter,
Vienna 1900,
p. 111.

  
6
AS THE NOTORIETY GREW:
Koja,
Gustav Klimt: Landscapes,
p. 149.

  
7
“HOW SURPRISED THE GENERAL PUBLIC WAS”:
Whitford,
Klimt,
p. 19.

  
8
“IF YOU CANNOT PLEASE ALL”:
Maria Constantino,
Gustav Klimt
(London: PRC Publishing, 2001), p. 10.

  
9
“TRUTH IS FIRE”:
Koja,
Gustav Klimt: Landscapes,
p. 148.

  
1
“HIDEOUS FIANCÉ”:
Natter and Frodl,
Klimt's Women,
p. 116.

  
2
“AT LEAST THREE AFFAIRS”:
Anthony Beaumont, ed.,
Alma Mahler Werfel Diaries
(London: Faber & Faber, 2005), p. 120.

  
3
“SHEER PHYSICAL EXCITEMENT”:
Ibid., p. 124.

  
4
“HE WOULD HAVE LOST CONTROL”:
Ibid., p. 141.

  
5
“MY HEART MISSED A BEAT”:
Ibid., p. 144.

  
6
“AND BEFORE I REALIZED IT”:
Ibid., p. 124.

  
7
“WE WERE BOTH TERRIBLY AGITATED”:
Ibid., p. 125.

  
8
“WITH SUCH FORCE”:
Ibid., p. 139.

  
9
“ANIMAL LUST”:
Ibid., p. 140.

10
HER STEPFATHER WAS A STERN, LOW-PAID OFFICER:
Gustav Zimmermann, interviews, Vienna, Nov. 1, 2006.

11
KLIMT OPENED THE GARDEN DOOR:
Weidinger,
Gustav Klimt,
p. 213.

12
A WEALTHY KLIMT PATRON:
Natter and Frodl,
Klimt's Women,
p. 88.

13
KLIMT ASKED HER TO MODEL NUDE:
Weidinger,
Gustav Klimt,
p. 213.

14
KLIMT WANGLED MIZZI A ROLE:
Gustav Zimmermann, interviews.

15
“THE MOST BEAUTIFUL PAINTING”:
Christian Nebehay,
Gustav Klimt: From Drawing to Painting
(New York: Harry N. Abrams, 1994), pp. 46–47.

16
“IS IT POSSIBLE”:
Gustav Klimt, letter to Mizzi Zimmermann, undated. Courtesy Gustav Zimmermann.

17
MIZZI TOOK KLIMT'S ADVICE:
Gustav Zimmermann, interview, Vienna, May 2007.

  
1
FREUD DONNED LEDERHOSEN:
Beller,
Vienna and the Jews,
p. 179.

  
2
“THE MELANCHOLY OF THE SYNAGOGUE”:
Ibid.

  
3
THE VIENNESE
FIAKERLIED:
Ibid., p. 180.

  
4
“THE DIFFERENCE BETWEEN THE BRAIN”:
Carl Dolmetsch,
Our Famous Guest: Mark Twain in Vienna
(Athens: University of Georgia Press, 1992), p. 164.

  
5
THE VIENNA LITERATI INVITED TWAIN:
Ibid., p. 43.

  
6
THEN TWAIN STOOD UP:
Ibid., p. 44.

  
7
“THWARTED MY DESIRE”:
Ibid., p. 315.

  
8
“SO THAT WHEN YOU NEED IT FOR PRAYER”:
Ibid.

  
9
TWAIN BEGAN HIS VIENNA SOJOURN:
Ibid., p. 170.

10
“THE UNAVOIDABLE MARK TWAIN”:
Ibid., p. 174.

11
“THE JEW IS NOT A BURDEN”:
Mark Twain, “Concerning the Jews,” written Jul. 1898, published in
Harper's Monthly
Sept. 1899.

12
“OUR OLD FRIEND MARK TWAIN”:
Jerome Loving,
Mark Twain: The Adventures of Samuel L. Clemens
(Berkeley: University of California Press, 2010), p. 385.

13
FREUD CONFESSED TO SKIPPING:
Dolmetsch,
Our Famous Guest,
p. 136.

14
HISTORIANS BELIEVE FREUD WAS ALSO INFLUENCED:
Ibid., p. 161.

15
“THE JEWS HAVE THUS EVER BEEN”:
Twain, “Concerning the Jews.”

16
“WILL IT EVER COME”:
Ibid.

17
“LONG LIVE LUEGER
!
”:
Dolmetsch,
Our Famous Guest,
p. 65.

18
“TALLOW-CHANDLER”:
Mark Twain,
Vienna Notebook,
Nov. 3, 1897, p. 44. Courtesy the Mark Twain Project, Bancroft Library, University of California, Berkeley.

19
“INVENTED A NEW NAME TONIGHT”:
Ibid., p. 47. This notebook is filled with humorous jibes at anti-Semites.

20
“UGLY AS A RUSSIAN JEW”:
Alma Mahler and E. B. Ashton,
And the Bridge Is Love
(London: Hutchinson, 1959), p. 38.

21
“INNOCENT WILD AMERICANS”:
Twain,
Vienna Notebook,
no. 40, Feb. 14, 1898, p. 10.

22
“THE JEW MARK TWAIN”:
Dolmetsch,
Our Famous Guest,
p. 166.

23
“IT WAS PAST MIDNIGHT”:
Ibid., p. 28.

24
IT TOOK SIX WEEKS:
Alessandra Comini,
Gustav Klimt
(New York: George Braziller, 1975), p. 13.

25
“ISOLATION CELL”:
Ibid.

  
1
“PETIT-BOURGEOIS”:
Elisabeth Bachofen-Echt,
Memoir,
dated April 1939. Courtesy of Marianne Kirstein-Jacobs and Daniela Skrein.

  
2
“IF ONLY PEOPLE WOULD ANALYZE LESS”:
Ibid.

  
3
ONE OF THE OLDEST UNIVERSITIES:
The University of Prague, opened in 1348, was the first in central Europe.

  
4
“LIKED IT THIS WAY”:
Bachofen-Echt,
Memoir.

  
5
THE SUICIDE, IN JANUARY 1899, OF CROWN PRINCE RUDOLF:
Wheatcroft,
The Habsburgs,
p. 283.

  
6
“A DULL, SPINELESS MASS”:
Koja,
Klimt: Landscapes,
p. 151.

  
7
“PORTRAYED IN A PUZZLING PAINTING”:
Weidinger,
Gustav Klimt,
p. 215.

  
8
“WHO IS REALLY INTERESTED”:
Karl Kraus,
Die Fackel,
no. 36 (Mar. 1900), quoted in Nebehay,
Gustav Klimt,
p. 69.

  
9
“HE MUST ALLEGORIZE HER”:
Ibid.

10
“NOT ONLY PROVOKED A FIERCE DEBATE”:
Bachofen-Echt,
Memoir.

11
“YOU MUST NOT BECOME”:
Ibid.

12
“WHILE THE WAR OF THE PENS”:
Ibid.

13
“HERR KLIMT INITIATES FRAU LEDERER”:
Agatha Schwartz,
Gender and Modernity in Central Europe: The Austro-Hungarian Monarchy and Its Legacy
(Ottawa: University of Ottawa Press, 2010), p. 132.

14
“THIS RAPPORT BETWEEN MODERN ART AND IDLE-RICH JEWRY”:
Ibid.

15
“I WOULD PREFER TO BYPASS”:
Nebehay,
Gustav Klimt,
p. 70.

16
“HIDEOUS
!
”:
Ibid., p. 106.

17
“HIS EYES WERE SHINING”:
Ibid.

18
“FEELING OF A TEMPLE”:
Koja,
Klimt: Landscapes,
p. 150.

19
KLIMT'S
KISS TO THE WHOLE WORLD:
Carl E. Schorske,
Fin de Siècle Vienna
(Cambridge, UK: Cambridge University Press, 1981), p. 258.

20
“INTO THE IDEAL REALM”:
Ibid.

21
“SLIM AND LOVELY”:
Berta Szeps,
My Life and History
(New York: Knopf, 1939), p. 181.

22
“I HAVE NEVER BEFORE EXPERIENCED”:
Ibid.

23
“ORGIES OF THE NUDE,” “OBSCENE ART,” “PAINTED PORNOGRAPHY,” “PATHOLOGICAL FANTASIES”:
Pirchan,
Gustav Klimt,
p. 57.

24
“AMONG THE MOST EXTREME EXAMPLES”:
Gerbert Frodl,
Secession, Gustav Klimt, Beethovenfries
(Vienna: Secession, 2002), pp. 14, 15.

25
“ALL POSSIBLE MEASURES”:
Ibid.

26
“THOSE OF US WHO ARE MODERN”:
Karl Kraus,
Die Fackel,
Nov. 21, 1903, quoted in Nebehay,
Gustav Klimt,
p. 75.

27
WHY SUCH “HATRED”?:
Weidinger,
Gustav Klimt,
p. 215.

28
AGAINST KLIMT:
Frodl,
Secession,
p. 14.

29
“ONE CAN TELL KLIMT IS A VIENNESE”:
Colin Bailey and John Collins,
Modernism in the Making
(New York: Harry N. Abrams in association with National Gallery of Canada, 2001), p. 42.

30
“FORGET THE CENSORSHIP”:
Schorske,
Fin de Siècle Vienna,
p. 266.

31
“GUSTAV IS FOLLOWING”:
Weidinger,
Gustav Klimt,
p. 208.

32
PEOPLE SAID THAT UNDERNEATH:
Whitford,
Gustav Klimt,
p. 19.

33
HE TOOK HOME
PHILOSOPHY:
Schorske,
Fin de Siècle Vienna,
p. 267.

34
“UNDOUBTEDLY ONLY OF AESTHETIC INTEREST”:
Rainer Metzger,
Gustav Klimt: Drawings and Watercolors
(London: Thames & Hudson, 2005), p. 46.

35
“A NASTY THING”:
Weidinger,
Gustav Klimt,
p. 206.

36
“A GUY CAN HIDE A BELLY”:
Bachofen-Echt,
Memoir.