The Lady In Gold
The Extraordinary Tale of Gustav Klimt's Masterpiece, Portrait of Adele Bloch-Bauer
(Sprache: Englisch)
Washington Post journalist Anne-Marie O'Connor tells the galvanizing story of Adele Bloch-Bauer, the dazzling Viennese Jewish socialite immortalized in Klimt's 1907 portrait. The Lady in Gold is at once a stunning portrait of fin-de siecle Vienna, a...
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Washington Post journalist Anne-Marie O'Connor tells the galvanizing story of Adele Bloch-Bauer, the dazzling Viennese Jewish socialite immortalized in Klimt's 1907 portrait. The Lady in Gold is at once a stunning portrait of fin-de siecle Vienna, a wrenching tale of Nazi war crimes, and a fascinating glimpse into the high-stakes workings of the contemporary art world.
Klappentext zu „The Lady In Gold “
National Bestseller The true story that inspired the movie Woman in Gold starring Helen Mirren and Ryan Reynolds. Contributor to the Washington Post Anne-Marie O'Connor brilliantly regales us with the galvanizing story of Gustav Klimt's 1907 masterpiece-the breathtaking portrait of a Viennese Jewish socialite, Adele Bloch-Bauer. The celebrated painting, stolen by Nazis during World War II, subsequently became the subject of a decade-long dispute between her heirs and the Austrian government.When the U.S. Supreme Court became involved in the case, its decision had profound ramifications in the art world. Expertly researched, masterfully told, The Lady in Gold is at once a stunning depiction of fin-de siècle Vienna, a riveting tale of Nazi war crimes, and a fascinating glimpse into the high-stakes workings of the contemporary art world.
One of the Best Books of the Year: The Huffington Post, The Christian Science Monitor. Winner of the Marfield National Award for Arts Writing. Winner of a California Book Award.
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Excerpted from the Hardcover editionAdele's Vienna
Poems and Privilege
It was 1898, and the devil himself seemed to dance in Vienna.
The mistress of Emperor Franz Joseph was Vienna's premier actress, Katharina Schratt, and she was threatening to retire from the stage unless the Imperial Burgtheater staged a scandalous Arthur Schnitzler play that glamorized free love. Vienna's most acclaimed star couldn't possibly be allowed to step down in the Jubilee Year, the fiftieth anniversary of the reign of the Austro-Hungarian monarch. So when the curtains opened on Schnitzler's Veil of Beatrice, the emperor personally saw to it that his mistress was onstage in a black veil, in the role of the seduced woman.
If it had once been unthinkable for the Austrian emperor to publicly indulge the whims of a common actress, Vienna was now a hothouse where nothing seemed impossible.
For hundreds of years, the great Habsburg dynasty had reigned over this crossroad of East and West. Behind immense battlements, its frilly court united German, Italian, Polish, Czech, Hungarian, and Croatian aristocracies into a single royal house whose multicultural capital was as ornate as a Fabergé egg. Even their German acquired elaborate embellishments and a lilting cadence, softened by Italian and French, and Baroque exhortations to kuss die hand. This culture of pleasure was so unabashed that one Habsburg archduke declared wine "the principal nourishment of the city of Vienna."
Now Vienna's ancient ramparts had come tumbling down, and a new wave of newcomers was crowding in from Bohemia, Moravia, Galicia, and Transylvania. You could hear a dozen languages in a single street-or a single tavern.
This new Vienna was a city of contradictions. It was one of Europe's richest cities, yet its immigrants were among the poorest. The construction of opulent new palaces did little to hide a severe housing shortage. Vienna doctors were creating modern medicine-pioneering surgeries;
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discovering germs, the polio virus, and blood types-yet incurable syphilis spread unchecked. Sigmund Freud was illuminating hidden drives of sex and aggression at a time of xenophobia and anti- Semitism so crude that some believed Jews murdered children to leaven their matzoh with blood. Famed for its gaiety, "the sacred city of musicians" had the highest suicide rate in Europe.
The hallowed house of Habsburg, which produced the kings of the Holy Roman Empire and boasted such ancestors as Julius Caesar and Nero, seemed to be coming apart. Emperor Franz Joseph was carrying on with an actress. His wife, Empress Elisabeth, detested court life and spent her time traveling the continent, earning a reputation as Europe's most famous liberated woman. His brother, Maximilian, playfully donned a sombrero during an ill-fated adventure as emperor of Mexico that ended with his execution by firing squad. His wife, Charlotte, went mad in a Belgian castle.
The dynasty that had united Europe and the Americas had become the empire's premier dysfunctional family.
Arrivistes were upending the social order. Prominent Jewish men like Gustav Mahler-who converted to Catholicism to qualify for an imperial post as director of the Vienna State Opera-were somehow becoming eligible bachelors, chased by wealthy Catholic society girls. The intoxicating waltz was throwing Viennese maidens into the arms of strangers. "African and hot-blooded, crazy with life...restless...passionate," wrote an appalled director of the Burgtheater. "The devil is loose here...in one single night, the Viennese went with him."
Yet even in this "Gay Apocalypse," Vienna maintained a deeply old- fashioned charm, with its snow-covered palaces and strolling parks, its aromatic cafés and seductive pastry carts piled with petit fours and chocolate bonbons filled with sweet liqueur. Possessed of a childlike love of adornment, Vienna was a city where
The hallowed house of Habsburg, which produced the kings of the Holy Roman Empire and boasted such ancestors as Julius Caesar and Nero, seemed to be coming apart. Emperor Franz Joseph was carrying on with an actress. His wife, Empress Elisabeth, detested court life and spent her time traveling the continent, earning a reputation as Europe's most famous liberated woman. His brother, Maximilian, playfully donned a sombrero during an ill-fated adventure as emperor of Mexico that ended with his execution by firing squad. His wife, Charlotte, went mad in a Belgian castle.
The dynasty that had united Europe and the Americas had become the empire's premier dysfunctional family.
Arrivistes were upending the social order. Prominent Jewish men like Gustav Mahler-who converted to Catholicism to qualify for an imperial post as director of the Vienna State Opera-were somehow becoming eligible bachelors, chased by wealthy Catholic society girls. The intoxicating waltz was throwing Viennese maidens into the arms of strangers. "African and hot-blooded, crazy with life...restless...passionate," wrote an appalled director of the Burgtheater. "The devil is loose here...in one single night, the Viennese went with him."
Yet even in this "Gay Apocalypse," Vienna maintained a deeply old- fashioned charm, with its snow-covered palaces and strolling parks, its aromatic cafés and seductive pastry carts piled with petit fours and chocolate bonbons filled with sweet liqueur. Possessed of a childlike love of adornment, Vienna was a city where
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Autoren-Porträt von Anne-Marie O'Connor
Anne-Marie O’Connor attended Vassar College, studied painting at the San Francisco Art Institute, and graduated from the University of California, Berkeley. She was a foreign correspondent for Reuters and a staff writer for the Los Angeles Times for twelve years, and has written extensively on the Klimt painting and the Bloch-Bauer family’s efforts to recover its art collection. Her articles have appeared in Esquire, The Nation, and The Christian Science Monitor. She currently writes for The Washington Post from Jerusalem, where her husband, William Booth, is Post bureau chief.
Bibliographische Angaben
- Autor: Anne-Marie O'Connor
- 2015, 368 Seiten, 54 Abbildungen, Masse: 13,3 x 20,3 cm, Kartoniert (TB), Englisch
- Verlag: Penguin Random House
- ISBN-10: 1101873124
- ISBN-13: 9781101873120
- Erscheinungsdatum: 20.03.2015
Sprache:
Englisch
Pressezitat
Fascinating. . . . A mesmerizing tale of art and the Holocaust. The Washington PostA celebration of art and persistence. . . . O Connor s book brings Klimt s exceptional portrait of Adele Bloch-Bauer home, broadening the meaning of homeland at the same time. The Christian Science Monitor
Ms. O Connor has told an important story. The Wall Street Journal
O Connor skillfully filters Austria s troubled twentieth century through the life of Klimt s most beloved muse. . . . A nuanced view of a painting whose story transcends its own time. Bookforum
Captivating. MORE Magazine
Combines detailed reportage with passionate storytelling. . . . Unraveling the portrait s journey also reveals how global norms of art and war have changed, and the powerful roles that art plays in politics, society, identity and memory. The Rumpus
A fascinating book. The Dallas Morning News
Richly drawn. . . . Part history and part mystery, The Lady in Gold is a striking tale. BookPage
The lusciously detailed story of Gustav Klimt s most famous painting, detailing the relationship between the artist, the subject, their heirs and those who coveted the masterpiece. . . . Art-history fans will love the deep details of the painting, and history buffs will revel in the facts O Connor includes as she exposes a deeper picture of World War II. Kirkus Reviews
Intriguing. . . . Poignant and convincing. . . . Vividly evokes the intellectually precocious and ambitious Adele s rich cultural and social milieu in Vienna, and how she became entwined with the charismatic, sexually charged, and irreverent Klimt. Publishers Weekly
Writing with a novelist s dynamism, O Connor resurrects fascinating individuals and tells a many-faceted, intensely affecting, and profoundly revelatory tale of the inciting power of art and the unending need for justice. Booklist (starred review)
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