Podcast appearances and mentions of adele bloch bauer

Hello and welcome back to Breakfast with Mom!Today I want to tell you about Gustav Klimt, and the story of his stolen art.  Gustav was an Austrian symbolist painter and one of the most prominent figures in the Vienna Secession movement. Born on July 14, 1862, in Baumgarten, near Vienna, Austria, Gustav demonstrated artistic talent from a young age. He studied at the Vienna School of Arts and Crafts, where he was trained in architectural painting and decorative arts.One of Gustav's most famous paintings, "Portrait of Adele Bloch-Bauer I," was at the center of one of the most notable art thefts and restitution cases in history. The Portrait is an oil painting on canvas, with gold leaf.  The painting was commissioned by Ferdinand Bloch-Bauer, a wealthy industrialist and Adele Bloch-Bauer's husband; the painting was completed sometime in 1907.During World War II, when Austria was occupied by Nazi Germany, the painting, along with other valuable artworks, was seized from the Bloch-Bauer family by the Nazis. After the war, the painting ended up in the possession of the Austrian government. It was displayed in the Austrian Gallery Belvedere in Vienna for many years.Resources:https://www.neuegalerie.org/collection/artist-profiles/gustav-klimthttps://www.britannica.com/biography/Gustav-Klimthttps://www.gustav-klimt.com/https://en.wikipedia.org/wiki/Gustav_Klimthttps://en.wikipedia.org/wiki/Portrait_of_Adele_Bloch-Bauer_Ihttps://en.wikipedia.org/wiki/Adele_Bloch-Bauerhttps://jwa.org/encyclopedia/article/bloch-bauer-adelehttps://en.wikipedia.org/wiki/Maria_Altmannhttps://en.wikipedia.org/wiki/Woman_in_Gold_(film)Say What?!:https://www.npr.org/2024/05/03/1248880788/wally-alligator-missing-georgiaAll the things: Music: "Electronic Rock (King Around Here)" by Alex Grohl https://pixabay.com/music/search/electronic%20rock%20kingLogo Artwork: Strawbeary Studios https://www.youtube.com/@StrawbearyStudios/featuredEpisode was researched, written and edited by ShanoaSocial Media:  https://www.facebook.com/profile.php?id=100090200010112X (formerly Twitter): @breakfastmompodEmail: breakfastwithmompodcast@gmail.comWebsite: https://breakfastwithmompodcast.com/Festival link: https://truecrimepodcastfestival.com/tickets/Promo Code: BREAKFAST

In today's episode, we take a step aside from Islamic & Indian art history to welcome Alexander Herman, director of the Institute of Art & Law in London. Alexander is specialised in the complex legislation of art and cultural heritage, and has recently published The Parthenon Marble dispute: Heritage, Law, Politics (Bloomsbury). In the episode, he offers the most valuable introduction to cultural heritage and provenance laws. He talks about his investigation in the dispute surrounding the Parthenon marbles, as well as several high profile cases involving art pieces, protection of cultural heritage and how to make sure the art you buy is legal and protected. If you've liked this episode and want to support the Podcast, buy me a coffee!  Mentioned in the Episode and Further Links  Follow the Art Informant on Instagram and XFollow Alexander Herman on X and LinkedInThe Institute of Art and LawAlexander Herman, The Parthenon Marbles Dispute: Heritage, Law, Politics, Bloomsbury, 2023 (Bloomsbury)The 1970 UNESCO conventionThe 1954 Hague ConventionUnited Nations Security Council Resolution 2347 for protection of cultural heritage in Iraq and SyriaThe 1995 UNIDROIT conventionAnne-Marie O'Connor, The Lady in Gold: The Extraordinary Tale of Gustav Klimt's Masterpiece, Portrait of Adele Bloch-Bauer, Knopf Doubleday: 2015 (Amazon)Peter Watson, The Medici Conspiracy: The Illicit Journey of Looted Antiquities. From Italy's Tomb Raiders to the World's Greatest Museums, PublicAffairs, 2007 (Amazon)Art Law Podcast: "Turkey's Quest for the Stargazer", part 1, 2 Dec. 2021Art Law Podcast: "Turkey's Quest for the Stargazer", part 2, 2 Mar 2022The Art Loss RegisterThe Lost Art DatabaseThe ICOM Red ListsAlexander Herman, "Methods of Securing Returns: Tough Stance of New York District Attorney Over Ancient Persian Artefact", Art, Antiquity and Law, Vol 23, Issue 4, 2018 (get in touch for a free copy) Click here to see the reproductions of artifacts discussed in the episode. 

Este podcast narra la historia detrás del retrato de Adele Bloch-Bauer realizado por Gustav Klimt en Austria antes de la 2a Guerra Mundial. Robado por los nazis quedó colgado en la Galería Nacional de Austria, sin justicia para sus dueños. Pero la voluntad de María Altman, la sobrina de la retratada, hizo que la obra regresará a la familia.

El retrato de Adele es una de las pinturas más conocidas en el mundo, algunos la llaman la dama dorada o la dama de oro. Su nombre real del cuadro es "Retrato de Adele Blonch Bauer I". ¿Quién era Adele? ¿Por que su nombre fue cambiado? ¿Qué significo para el régimen nazi? ¿Por qué actualmente se encuentra en Nueva York? Todas las respuestas y más en este episodio de dos partes :)

El retrato de Adele es una de las pinturas más conocidas en el mundo, algunos la llaman la dama dorada o la dama de oro. Su nombre real del cuadro es "Retrato de Adele Blonch Bauer I". ¿Quién era Adele? ¿Por que su nombre fue cambiado? ¿Qué significo para el régimen nazi? ¿Por qué actualmente se encuentra en Nueva York? Todas las respuestas y más en este episodio de dos partes :)

On this episode of the OETA Movie Club Podcast, host Robert Burch and director Jeff Morava do a deep dive into the 2015 biographical drama, "Woman in Gold",  directed by Simon Curtis and written by Alexi Kaye Campbell. The film stars Helen Mirren, Ryan Reynolds, Daniel Brühl, Katie Holmes, Tatiana Maslany, Max Irons, Charles Dance, Elizabeth McGovern, and Jonathan Pryce. The film is based on the true story of Maria Altmann, an elderly Jewish refugee living in Cheviot Hills, Los Angeles, who, together with her young lawyer, Randy Schoenberg, fought the government of Austria for almost a decade to reclaim Gustav Klimt's iconic painting of her aunt Adele Bloch-Bauer, Portrait of Adele Bloch-Bauer I, which was stolen from her relatives by the Nazis in Vienna just prior to World War II. Listen now wherever you get your podcasts and tune in to Woman in Gold on Saturday, April 30, 2022 at 9 pm and Friday, May 6 at 11 pm on  OETA.

A inspiração para um dos míticos quadros de Gustav Klimt, Adele Bloch-Bauer, morreu faz hoje 97 anos.

En solig novemberdag och äntligen dags för ett nytt poddavsnitt! Vi ska prata om Gustav Klimts porträtt ”Adele Bloch-Bauer I” från 1907, som även kallas för “Goldene Adele”, alltså “gyllene Adele” på tyska och “The Lady in Gold” eller “The Woman in Gold” på engelska. Verket fanns länge på Österreichische Galerie Belvedere i Wien, men är nuförtiden en del av samlingarna på Neue Galerie i New York. Porträttet bjuder på en mängd fängslande historier som sträcker sig från den tiden då det skapades fram till vår egen tid. Det är en målning som exproprierades av nazisterna och som inte skulle lämnas tillbaka till den rättmätiga ägaren förrän en kvinna i Los Angeles stämde den österrikiska staten och det blev ett politiskt ärende. Det är ett porträtt som nuförtiden anses vara ett konstverk som symboliserar staden Wien och dess guldålder vid förra sekelskiftet, “Wiener Moderne”, samtidigt som det har blivit ett nationell ikon för den kulturella identiteten av hela landet Österrike. Detta blev uppenbart i och med den mediala uppmärksamheten, när man med en stor affischkampanj tog farväl av verket då det lämnade Österrike. Självklart kommer vi också prata om konstnären bakom verket och vad som kan ha inspirerat honom till den karaktäristiska stilen han utvecklade under sin ”gyllene period”. Vi ska inte heller undanhålla Klimts privatliv och att han skapade sig en persona som ”womanizer” i reformdräkt. Ryktena spred sig att han var naken under sin vida rock och alltid hade modeller i hans ateljé som han strulade med. See acast.com/privacy for privacy and opt-out information.

'The Woman in Gold' was one of Gustav Klimt's most famous paintings. It was a portrait of Adele Bloch-Bauer, but it was taken from her family by the Nazis and only returned to them after a long legal battle. Louise Hidalgo has been speaking to Randol Schoenberg the young lawyer who took on the case. Picture: Adele Bloch-Bauer I, or 'The Woman in Gold', painted in 1907 by Gustav Klimt, from the collection of the Neue Galerie in New York. (Credit: Fine Art Images/Heritage Images/Getty Images)

What you'll learn in this episode: How Barbara discovered she could combine gold leaf and enamel for jewelry that withstands daily wear What types of custom work has proven popular for Évocateur Why it was important for Évocateur jewelry to be made in the U.S. and sold at an affordable price point How Barbara moved from corporate finance to jewelry, even with no formal schooling or industry connections About Barbara Ross-Innamorati For ÉVOCATEUR Founder and Designer Barbara Ross-Innamorati, the love of fashion, art and design has always been hardwired into her creative DNA. Many years ago, Barbara became fascinated with and passionate about gold leaf, particularly the way it can transform even the most ordinary objects into something extraordinary and magical. As someone who always loved jewelry, Barbara went on a mission to adapt 22K gold leaf to jewelry design. After years of research and trial and error, she perfected the proprietary technique for which ÉVOCATEUR is now known. Today, these opulent designs are infused with inspiration from Barbara's extensive travels throughout the U.S., Europe, Africa and Asia. All of the designs have a sophisticated and unique spirit. From their Connecticut studio, Barbara and a team of skilled artisans design and individually craft each piece, wrapping them in 22K gold leaf and sterling silver leaf. Using an intricate process, the jewelry is gilded and burnished by hand and is fabricated over a period of five days, resulting in an exquisite work of art, each piece finished to a rich patina. With only the finest materials used and impeccable attention to detail, ÉVOCATEUR celebrates the compelling relationship between art and fashion. The line, which includes cuffs, bangles, pendants, and earrings, can be found in premier jewelry retail stores throughout the United States and the rest of the world. Additional Links Évocateur Instagram Évocateur Website Photo: Transcript: For most of her life, Barbara Ross-Innamorati didn't think jewelry would ever be more than a hobby to her. Little did she know that she would later invent an entirely new category of jewelry. Her company, Évocateur, specializes in gilded jewelry covered in gold and silver leaf and artistic motifs. She joined the Jewelry Journey Podcast to talk about how she developed her innovative technique, where she hopes her company will go next, and why she wants everyone to know that it's possible to start a second chapter in life. Read the episode transcript below.    Sharon: Hello everyone. Welcome to the Jewelry Journey Podcast. Today, my guest is Barbara Ross-Innamorati, designer and founder of the jewelry company Évocateur. Her jewelry features 22-carat gold leaf and sterling silver leaf. Her line is sold around the world, and we'll hear about her jewelry journey today. Barbara, welcome to the podcast. Barbara: Thank you, it's very good to be here. Sharon: So glad to have you. Tell us about your jewelry journey. It sounds like you invented—it's not the right word, but we'll talk more about it. Barbara: No, that is close to the right word, Sharon. We're an 11 ½-year-old company. We were established in 2009, but my jewelry journey probably began decades ago. I trace it back to when I was a student in London. I went to an art exhibit, and it was a retrospective of Gustave Klimt, the famous expressionist artist. I saw the painting “The Kiss” there, and even being 20-something, I was struck by something I saw in the painting, and that was gold leaf. I didn't know what gold leaf was; I was just mesmerized by it and it stuck with me. I went on to finish college and got married, started work and had kids, and then I'd say about 12 or 13 years ago, the gold leaf came back to me, because I'd always loved jewelry. I had a wonderful collection of my own jewelry, and I got it in my mind, thinking, “Why can't we make jewelry that features gold leaf?” We have less expensive plated fashion jewelry, and then you have fine jewelry. There's got to be something in between, and there's got to be something we can use gold leaf on. Gold leaf is different than plating; it's actual sheets of gold. So, I went on in this fashion, to try and adapt 18-carat or 22-carat gold leaf to jewelry. It was a long process. I had no background in jewelry. I had never taken a jewelry class, not even an art class, although I loved art and I had a vision of what I wanted this to look like. 18 months later, through trial and error, I finally had a product, and I have to trace it back to that day at the National Gallery in London when I saw that painting.  We have, in the process, continued to evolve over the last 11 ½ years. It was something we couldn't read in a book; I couldn't read in a book. No one was doing it the way I was doing it, or at least getting the look I wanted. People had used gold leaf as accents on beads, but no one was wrapping it the way we had come up with through this process. I say “we” because over the years, even though I invented this process, my incredible team—and we're 100 percent woman owned and operated—has continued to progress and evolve and innovate to make this a much better process and product in the meantime. Even our signature flecking, which is little bits of gold, that was kind of an accident. The first time I was trying to get gold leaf on a cuff base, the little pieces of gold—gold leaf is as thin as a butterfly's wing—would break off and end up all over the image. That was an accident, but I looked at it and said, “That gives it a unique vintage, one-a-kind look.”  It's been a very interesting journey. We have brought together two materials that heretofore haven't been brought together, and that's gold leaf and enamel. In fact, when we have a product issue—and we've had many over the years, because we are blazing a trail in this process and product—I couldn't talk to my gold leaf guy in Florence, Italy, and I couldn't talk to my enamel guy in Rhode Island, because their materials had never been married together, so to speak. We had to solve things here, not in the tools that we use, but the entire process. So, that's how it began. I'm proud to say we've created this entire newly category of gilded jewelry, and it's been a long process. Sharon: It's an amazing story. Do you have metalsmithing or chemistry experience? Did you have any kind of background? Barbara: I have an MBA in corporate finance. I was an investment banker and corporate finance person before I did this, so no. I hope that's inspirational to people who think they can't do something. You just keep at it. I wasn't intimidated by not being from the industry. Sharon: Is that just your personality? It's intimidating. So many people grew up in jewelry families or they were chemists or something. Is that just you, you're not intimidated? Barbara: I think it was passion; I can't even tell you. I remember being up until 2, 3, 4 in the morning experimenting. The hardest part of this was not just getting the very thin gold leaf or silver leaf on a base, but how to seal it, because gold leaf heretofore has been used in the decorative arts. You see it on domes or churches. In New York, we have several buildings that have gold domes as well as gold statues. Those statues are covered with gold leaf, and when you put it on an object or even furniture, it's not sitting against someone's skin. It's gold; you don't have to seal it. Silver leaf, you have to seal because it will tarnish, so I had to find the right sealant that would protect it but not destroy it. It's sitting against a woman's wrist or her neck where there might be oils and sweat, and I had to find a way to protect that. I was passionate about gold leaf and loved art, and now we have a product that combines original art and gold leaf that's all made in the U.S. It's all made right here in Connecticut. Sharon: Wow! That's very unusual. Did you find people who knew how to seal it? Barbara: No, I tried many different materials, and I would wear it and stress test it. I remember finally the third material, which is a type of enamel, was the one that worked. It was hard because not only was I unschooled in this, but there was no school where I could learn this.  Sharon: You do the design of the jewelry. You're the designer, right? Barbara: Yes, we design everything here. We work with graphic artists and we have different types of designs. We also work with contemporary artists to put their artwork on our jewelry. You can go to our website and see Monet's Water Lilies or Van Gogh's Starry Night. These are all in the public domain, so we can use them without paying any type of royalty or rights. However, we also work with contemporary artists. We take their artwork and pay them a royalty to use their art on our jewelry. We also work with Erté, who was a famous—he did many things: costume designer, sculptor, artist. We work with a company that owns all of his artwork, and we have an entire line devoted to his art.  Sharon: Yes, that was surprising. I always think of the female statue—I don't know if it's in crystal, but that's what I think of when I think of him. He was a him, right? Barbara: Yeah, his actual name was Romain de Tirtoff. He was Russian-born, but when you said his initials, which are R and T, in French, it's pronounced Erté. Sharon: In today's world that's also unusual. You're looking at antiques like that, but not contemporary so much. They're beautiful. Tell us how you describe your jewelry to people when they ask what you do. What do you say to them? Barbara: We're obviously very art-driven jewelry, but I think we're colorful, whimsical, attainable. Everything retails for under $400. These are handmade pieces that take six to seven days to process. It is made, as in mentioned, in Norwalk, Connecticut, and it features 22-carat gold leaf. It's very artistic, but it's also travel jewelry in a way. That's another thing I point out; you get a lot of bang for the buck. It's bold, although we do have different widths. We go down to as narrow as a ¾-inch cuff. Earring silhouettes go from the smallest studs to the largest 2-inch tear drops. The same thing with our necklaces, but we do have that bold, gold look Sharon: It's beautiful. I happen to love cuff bracelets. You have some fabulous cuff bracelets. Barbara: Thank you. It's fun jewelry; whimsical, art-driven and unique. The other thing is that each piece is like a snowflake because it's handmade. The gilding will go on differently each time, especially the flecking, the little bits of gold or silver, so that each piece is really, truly like a snowflake. We can't replicate it. The image can be replicated, but the application of the gold leaf can't.  Sharon: That's amazing. Did you target that specific price point? Barbara: We launched our business in the middle of a recession, the 2008-2009 recession, and there was a lot of price resistance and price sensitivity. I tried hard to keep it under a certain price. There is a target, I guess. That's correct, that we try to be conscious of the price level. Sharon: It sounds like you had to go through so many iterations to develop the prototypes and find the one where you said, “O.K., we're ready to go.” How did you feel? Did you know when you saw it?  Barbara: Yeah, everything has to speak to me. I have to feel it.  Sharon: How did you feel then? Did you know when you saw it? Like, “I've done 400 prototypes, but this is it”? Barbara: The biggest challenge for me was finding the right enamel. It's what is called a cold enamel. It has to air cure. We can't fire it because of the gold leaf. When I got up the next morning and felt it and touched it after it had cured, I felt like, “Yeah, this is it.” Then, of course, I had to wear it. I would wear it for three or four weeks every day to stress test it because, as I said, we blazed a new trail here. There was no way for us to know if this was going to work. Sharon: I'm amazed that you've been so successful with it. It's so far afield from what you did before and what your education was in. l understand that you didn't study as an artist. You didn't study as a chemist or a metalsmith. Barbara: I had to learn a lot about chemistry while working with the enamels. We had problems, all kinds of issues that would—like if your studio is too humid, we've had issues with that. If the enamel doesn't cure correctly, then we have to file it off and start again. It's a laborious process. We've tried to short circuit it over the years, but the look is not the same.  Sharon: No, it sounds like a laborious process. Barbara: But it's very rewarding. Being relatively new to this industry, obviously there are a lot of challenges, but there's so much joy that we can be part of something happy and positive for the most part. I hear from customers and from our retailers what their customers are saying, especially when we do a custom cuff. I'm sure most jewelers and designers know what I'm talking about when you feel that “wow.” You made a difference. You're part of an important milestone. Maybe you're just part of someone's everyday life, but they get so much joy out of wearing something. That's something I never take for granted, because I never had a job like that, frankly, never. This is the first time. Sharon: What kind of custom work are people asking you for? To mark an anniversary or a trip? Barbara: We do so many different types of custom. This is probably our largest-growing segment right now. We can take any digital image—of course, we have to make sure it looks good—but we can take any digital image that any customer has and create a piece of jewelry from it that's embedded into the gold leaf or silver leaf. We do a lot of dogs. We do a lot of horses. Kids are a distant third behind pets. We've done cats. We've done a lot of map cups, mostly for our retailers. We'll find beautiful maps and we'll put it on a cup or a necklace, and then it becomes our retailer's signature piece. We've done Charlotte, North Carolina, Charleston—you name the city, we have a map cup or earring or necklace to go with it.  We've done those types of customs, but then we've done very personal pieces for the retail customer as opposed to the retailer. It really is all over the place. We actually put somebody's car on one. She had a Ferrari, and she wanted a picture of her in her Ferrari on a cuff, so she sent this photo. She loved that. For a mother's day gift, one was a picture of somebody's childhood home. That was through one of our retailers. It was given to her mother. It was their home, and apparently the mother just wept when she got this cup. It's fun. It's very personal. If you can digitize it, we can generally create a beautiful piece of jewelry from it. Sharon: Wow! It's endless what you can do in terms of custom work. It's not surprising to me that pets are first. The first thing that flew into my mind was maybe a family picture, but when I think about things that make me smile—it sounds horrible—it's my dogs. Barbara: We've done a lot of dogs that have passed. When they pass, the owner really wants to commemorate them on a necklace or a cuff. There's always a story. That's the other thing; with all kinds of jewelry, there's always a story, and that's what I love. I like to think our jewelry has a strong narrative. In fact our name, “Évocateur,” means evocative. That's because when I started wearing my jewelry, when it was still just a hobby and I was trying to figure things out, people would ask me questions. They'd say, “That's really unique,” or “Why is there a butterfly on that cuff?” It would evoke conversations and connections, and for me it would evoke nice memories of a trip, for example. That's what I mean. Sharon: The Kiss is at the Neue Galerie right now, isn't it? Do you go visit that because it's so much closer than London right now? Barbara: Yeah, I've been to Neue Galerie on the Upper East Side of New York. It's a beautiful museum. Sharon: Oh, it's great. Barbara: Very inspirational. We also have the Portrait of Adele Bloch-Bauer, which is another famous painting of his. We put that on a cuff as well. Sharon: Beautiful! The price point is approachable, not off-putting, and you can customize so many things. What's one thing we haven't talked about? What's one thing I haven't covered that you think people should know? Barbara: This is definitely a second chapter for me. As I mentioned, my background was very different. Had I not lost my job—I had a really nice job and was downsized—this would have never happened. I think it's important for people to realize that sometimes great things come in not-so-nice packages. There's always a second chapter, no matter where you are or how old you are. Things can happen that may not look so great at the time, as I said, but I can guarantee you—because I had a great job, and there was no reason for me to leave that job—I can guarantee you that if my hand hadn't been forced and I hadn't started playing around with my hobby, that Évocateur would have never happened. I'd still be in that job, or maybe another job that's similar. That is an important message for anyone who finds himself in a less than desirable position or in something they didn't plan.  The other thing that's interesting is that the event that launched us was the lineup at Open See at Henri Bendel. Unfortunately Henri Bendel no longer exists in New York, but this was a semiannual audition, if you will, where any designer could line up, preferably between 5 and 6 a.m. if you wanted to be seen. The lines were long. Anyone could line up in certain categories, and the buyers at Henri Bendel would see them. It was called the Open See; it was very famous, and I decided I was going to go and present our collections. It was successful for us because they accepted us in, and that's really how we were launched. It gave me the commercial validation that I needed to turn this from a hobby into something more. That's the other interesting Évocateur historical info. Sharon: That's quite a launch. It's inspirational. I can see so many people saying, “Oh, they wouldn't be interested,” or they're not willing to be rejected. Barbara: Whenever you're an entrepreneur, you've got to realize that you're going to get rejections. It's par for the course, and you need a lot of internal fortitude. So much of what I've done is hard. There's no question. It's hard owning a business and creating something from nothing, which is what we did. Even when you start a business—maybe you have a product that does exist, but you still have to start it. Anytime you start something from nothing, you don't inherit it; you don't buy into it; but you're starting with zero, you're going to have rejection. You need a lot of passion for what you're doing and a lot of, like I said, internal fortitude to keep going. It's not easy, but it is rewarding. There are lots of highs, lots of lows. Sharon: It sounds very rewarding. It's the risk of living, but it sounds very rewarding. Thank you so much. It was a very inspirational story. I wish you continued success and growth, and it sounds like you'll have it in the future. It's coming; how can it not? Barbara: It's been an interesting ride. My biggest achievement to date, I think, is that we survived 2020. I'm serious. Sharon: I'm laughing, but I know— Barbara: My team is still here and we're still working away. Trade shows are coming back, and I'm optimistic for this year and the following year. Sharon: The fact that you're still here is quite an accomplishment. Thank you so much, Barbara, for talking with us today, and much luck as you move forward. Barbara: Thank you so much, Sharon. It's been a pleasure. We will have images posted on the website. You can find us wherever you download your podcasts, and please rate us. Please join us next time, when our guest will be another jewelry industry professional who will share their experience and expertise. Thank you so much for listening. Thank you again for listening. Please leave us a rating and review so we can help others start their own jewelry journey.

Thanks for watching! This week on Paint on Canvas on Tape, Sinclaire discusses Gustav Klimt's "Woman in Gold" aka "Adele Bloch-Bauer." Kendal discusses the famous gay erotic photographer, Robert Mapplethorpe, and his photograph "Brian Ridley and Lyle Heeter." Hope you enjoyed! Let us know your thoughts in the comments. Rate and review us on iTunes! POCOT Instagram: @paint_on_canvas_on_tapeEmail: paintoncanvasontape@gmail.com

The Extraordinary Tale of Gustav Klimt’s Masterpiece, “Portrait of Adele Bloch-Bauer. By Anne-Marie O’Connor. Read by Robbin Milne #readingaloud #adultreading #art #artist #painting #GustavKlimt

The Extraordinary Tale of Gustav Klimt’s Masterpiece, “Portrait of Adele Bloch-Bauer. By Anne-Marie O’Connor. Read by Robbin Milne #readingaloud #adultreading #art #artist #painting #GustavKlimt

The Extraordinary Tale of Gustav Klimt’s Masterpiece, “Portrait of Adele Bloch-Bauer. By Anne-Marie O’Connor. Read by Robbin Milne #readingaloud #adultreading #art #artist #painting #GustavKlimt

I Nazisti avevano una vera e propria ossessione per le opere d'arte. Molte di queste non hanno fatto mai ritorno ai loro legittimi proprietari, ma non fu così per il ritratto di Adele Bloch-Bauer realizzato da Gustav Klimt. Il quadro, che i nazisti chiamavano La donna in oro, per nascondere l'origine ebrea della modella, dopo una lunga e travagliata battaglia legale tornò alla famiglia a cui era stata tolto, grazie all'impegno di Maria Altmann, nipote di Adele, la donna del dipinto.

The Extraordinary Tale of Gustav Klimt’s Masterpiece, “Portrait of Adele Bloch-Bauer. By Anne-Marie O’Connor. Read by Robbin Milne #readingaloud #adultreading #art #artist #painting #GustavKlimt

The Extraordinary Tale of Gustav Klimt’s Masterpiece, “Portrait of Adele Bloch-Bauer. By Anne-Marie O’Connor. Read by Robbin Milne #readingaloud #adultreading #art #artist #painting #GustavKlimt

The Extraordinary Tale of Gustav Klimt’s Masterpiece, “Portrait of Adele Bloch-Bauer. By Anne-Marie O’Connor. Read by Robbin Milne #readingaloud #adultreading #art #artist #painting #GustavKlimt

The Extraordinary Tale of Gustav Klimt’s Masterpiece, “Portrait of Adele Bloch-Bauer. By Anne-Marie O’Connor. Read by Robbin Milne #readingaloud #adultreading #art #artist #painting #GustavKlimt

... Problem Like Maria; Klimt’s Stolen Women. The Extraordinary Tale of Gustav Klimt’s Masterpiece, “Portrait of Adele Bloch-Bauer. By Anne-Marie O’Connor. Read by Robbin Milne #readingaloud #adultreading #art #artist #painting #GustavKlimt

The Extraordinary Tale of Gustav Klimt’s Masterpiece, “Portrait of Adele Bloch-Bauer. By Anne-Marie O’Connor. Read by Robbin Milne #readingaloud #adultreading #art #artist #painting #GustavKlimt

The Extraordinary Tale of Gustav Klimt’s Masterpiece, “Portrait of Adele Bloch-Bauer. By Anne-Marie O’Connor. Read by Robbin Milne #readingaloud #adultreading #art #artist #painting #GustavKlimt

Sie gehörte zu Österreich wie kaum ein anderes Kunstwerk – erbittert wurde um sie gestritten: "Die Frau in Gold" von Gustav Klimt. Infolge verschiedener Testamente und den Wirren der NS-Zeit stritt die Republik Österreich mit der letzten verbliebenen Erbin Maria Altmann um das berühmte Gemälde, auf dem ihre Tante Adele Bloch-Bauer zu sehen ist. Geschenk? Enteignung? Bewusste Lügen? Mithilfe eines Wiener Journalisten und eines Anwalts aus Kalifornien geriet ein beispielloser Fall ins Rollen, in dem es um weit mehr ging als nur ein Bild.

The Extraordinary Tale of Gustav Klimt’s Masterpiece, “Portrait of Adele Bloch-Bauer. By Anne-Marie O’Connor. Read by Robbin Milne #readingaloud #adultreading #art #artist #painting #GustavKlimt

The Extraordinary Tale of Gustav Klimt’s Masterpiece, “Portrait of Adele Bloch-Bauer. By Anne-Marie O’Connor. Read by Robbin Milne #readingaloud #adultreading #art #artist #painting #GustavKlimt

The Extraordinary Tale of Gustav Klimt’s Masterpiece, “Portrait of Adele Bloch-Bauer. By Anne-Marie O’Connor. Read by Robbin Milne #readingaloud #adultreading #art #artist #painting #GustavKlimt

The Extraordinary Tale of Gustav Klimt’s Masterpiece, “Portrait of Adele Bloch-Bauer. By Anne-Marie O’Connor. Read by Robbin Milne #readingaloud #adultreading #art #artist #painting #GustavKlimt

The Extraordinary Tale of Gustav Klimt’s Masterpiece, “Portrait of Adele Bloch-Bauer. By Anne-Marie O’Connor. Read by Robbin Milne #readingaloud #adultreading #art #artist #painting #GustavKlimt

Welcome to the Jo's Art History Podcast, a podcast which celebrates all things art historical every single day! IT'S CHRISTMAS!!!! So, what better way to spread the art history love and joy at this time of year than bringing you A BONUS EPISODE of the Jo's Art History podcast!!! On today's episode I talk to you about one of art history's greatest stories of looted art - Gustav Klimt's Portrait of Adele Bloch-Bauer I. Seized during the Nazi invasion of Vienna during world war 2, the work's rightful owners had given up on ever getting the painting back until a scathing exposé was published in 1998 which CHANGED EVERYTHING! This story is so good, it was even made into a movie! Artwork: Gustav Klimt Portrait of Adele Bloch-Bauer I 1907 Oil and Gold leaf on canvas Host: Jo McLaughlin Website: www.josarthistory.com Instagram: @josarthistory All images referred to on the show can be found on my website here: www.josarthistory.com or on my Instagram page @josarthistory

In our eighth season, we’re exploring examples of some of the most expensive artworks ever sold at auction considering why they garnered so much money, and discovering their backstories. Today: Gustav Klimt’s Adele Bloch-Bauer I. Please SUBSCRIBE and REVIEW our show on Apple Podcasts! Twitter / Facebook/ Instagram SPONSORS: Kobo: Enjoy a 30-day free trial, and then a low monthly subscription fee of $12.99 Bloomberg Connects: Download‌ ‌Bloomberg‌ ‌Connects‌ ‌at‌ ‌the‌ ‌Apple‌ ‌App‌ ‌and‌ ‌Google‌ ‌Play‌ ‌stores to access museums, galleries, and cultural spaces around the world anytime, anywhere Acorn: Use promo code “ARTCURIOUS” to enjoy Acorn free for 30 days, and get a second subscription for 50% off when you buy an Annual Gift Membership during their Black Friday sale Learn more about your ad choices. Visit megaphone.fm/adchoices

The Extraordinary Tale of Gustav Klimt’s Masterpiece, “Portrait of Adele Bloch-Bauer. By Anne-Marie O’Connor. Read by Robbin Milne #readingaloud #adultreading #art #artist #painting #GustavKlimt

The Extraordinary Tale of Gustav Klimt’s Masterpiece, “Portrait of Adele Bloch-Bauer. By Anne-Marie O’Connor. Read by Robbin Milne #readingaloud #adultreading #art #artist #painting #GustavKlimt

The Extraordinary Tale of Gustav Klimt’s Masterpiece, “Portrait of Adele Bloch-Bauer. By Anne-Marie O’Connor. Read by Robbin Milne #readingaloud #adultreading #art #artist #painting #GustavKlimt

The Extraordinary Tale of Gustav Klimt’s Masterpiece, “Portrait of Adele Bloch-Bauer. By Anne-Marie O’Connor. Read by Robbin Milne #readingaloud #adultreading #art #artist #painting #GustavKlimt

The Extraordinary Tale of Gustav Klimt’s Masterpiece, “Portrait of Adele Bloch-Bauer. By Anne-Marie O’Connor. Read by Robbin Milne #readingaloud #adultreading #art #artist #painting #GustavKlimt

The Extraordinary Tale of Gustav Klimt’s Masterpiece, “Portrait of Adele Bloch-Bauer. By Anne-Marie O’Connor. Read by Robbin Milne #readingaloud #adultreading #art #artist #painting #GustavKlimt

The Extraordinary Tale of Gustav Klimt’s Masterpiece, “Portrait of Adele Bloch-Bauer. By Anne-Marie O’Connor. Read by Robbin Milne #readingaloud #adultreading #art #artist #painting #GustavKlimt

The Extraordinary Tale of Gustav Klimt’s Masterpiece, “Portrait of Adele Bloch-Bauer. By Anne-Marie O’Connor. Read by Robbin Milne #readingaloud #adultreading #art #artist #painting #GustavKlimt

The Woman in Gold, the Mona Lisa of Austria, the Golden Lady, Gustav Klimt's "Portrait of Adele Bloch-Bauer" has been known by several names. But beyond the golden leaves and Adele's melancholy and all-knowing expression lies a story that ties back to some of the darkest chapters in history. 

The Extraordinary Tale of Gustav Klimt’s Masterpiece, “Portrait of Adele Bloch-Bauer. By Anne-Marie O’Connor. Read by Robbin Milne #readingaloud #adultreading #art #artist #painting #GustavKlimt

The Extraordinary Tale of Gustav Klimt’s Masterpiece, “Portrait of Adele Bloch-Bauer. By Anne-Marie O’Connor. Read by Robbin Milne #readingaloud #adultreading #art #artist #painting #GustavKlimt

The Extraordinary Tale of Gustav Klimt’s Masterpiece, “Portrait of Adele Bloch-Bauer. By Anne-Marie O’Connor. Read by Robbin Milne #readingaloud #adultreading #art #artist #painting #GustavKlimt

The Extraordinary Tale of Gustav Klimt’s Masterpiece, “Portrait of Adele Bloch-Bauer. By Anne-Marie O’Connor. Read by Robbin Milne #readingaloud #adultreading #art #artist #painting #GustavKlimt

The Extraordinary Tale of Gustav Klimt’s Masterpiece, “Portrait of Adele Bloch-Bauer. By Anne-Marie O’Connor. Read by Robbin Milne #readingaloud #adultreading #art #artist #painting #GustavKlimt

The Extraordinary Tale of Gustav Klimt’s Masterpiece, “Portrait of Adele Bloch-Bauer. By Anne-Marie O’Connor. Read by Robbin Milne #readingaloud #adultreading #art #artist #painting #GustavKlimt

The Extraordinary Tale of Gustav Klimt’s Masterpiece, “Portrait of Adele Bloch-Bauer. By Anne-Marie O’Connor. Read by Robbin Milne #readingaloud #adultreading #art #artist #painting #GustavKlimt

Te contamos la historia del retrato de Adele Bloch-Bauer, realizado por Gustav Klimt en Austria antes de la Segunda Guerra Mundial. La obra fue robada por los nazis y durante un tiempo estuvo colgada en la Galería Nacional de Austria. Pero la voluntad de María Altman, sobrina de la retratada, hizo que regresara a su familia. Un episodio más desde nuestro distanciamiento.

The Extraordinary Tale of Gustav Klimt’s Masterpiece, “Portrait of Adele Bloch-Bauer. By Anne-Marie O’Connor. Read by Robbin Milne #readingaloud #adultreading #art #artist #painting #GustavKlimt

The Extraordinary Tale of Gustav Klimt’s Masterpiece, “Portrait of Adele Bloch-Bauer. By Anne-Marie O’Connor. Read by Robbin Milne #readingaloud #adultreading #art #artist #painting #GustavKlimt

The Extraordinary Tale of Gustav Klimt’s Masterpiece, “Portrait of Adele Bloch-Bauer. By Anne-Marie O’Connor. Read by Robbin Milne #readingaloud #adultreading #art #artist #painting #GustavKlimt

The Extraordinary Tale of Gustav Klimt’s Masterpiece, “Portrait of Adele Bloch-Bauer. By Anne-Marie O’Connor. Read by Robbin Milne #readingaloud #adultreading #art #artist #painting #GustavKlimt

The Extraordinary Tale of Gustav Klimt’s Masterpiece, “Portrait of Adele Bloch-Bauer. By Anne-Marie O’Connor. Read by Robbin Milne #readingaloud #adultreading #art #artist #painting #GustavKlimt

The Extraordinary Tale of Gustav Klimt’s Masterpiece, “Portrait of Adele Bloch-Bauer. By Anne-Marie O’Connor. Read by Robbin Milne #readingaloud #adultreading #art #artist #painting #GustavKlimt

The Extraordinary Tale of Gustav Klimt’s Masterpiece, “Portrait of Adele Bloch-Bauer. By Anne-Marie O’Connor. Read by Robbin Milne

The Extraordinary Tale of Gustav Klimt’s Masterpiece, “Portrait of Adele Bloch-Bauer. By Anne-Marie O’Connor. Read by Robbin Milne

The Extraordinary Tale of Gustav Klimt’s Masterpiece, “Portrait of Adele Bloch-Bauer. By Anne-Marie O’Connor. Read by Robbin Milne

The Extraordinary Tale of Gustav Klimt’s Masterpiece, “Portrait of Adele Bloch-Bauer. By Anne-Marie O’Connor. Read by Robbin Milne

The Extraordinary Tale of Gustav Klimt’s Masterpiece, “Portrait of Adele Bloch-Bauer. By Anne-Marie O’Connor. Read by Robbin Milne

The Extraordinary Tale of Gustav Klimt’s Masterpiece, “Portrait of Adele Bloch-Bauer. By Anne-Marie O’Connor. Read by Robbin Milne

The Extraordinary Tale of Gustav Klimt’s Masterpiece, Portrait of Adele Bloch-Bauer. By Anne-Marie O’Connor - read by Robbin Milne

The Extraordinary Tale of Gustav Klimt’s Masterpiece, Portrait of Adele Bloch-Bauer. By Anne Marie O’Connor. Read by Robbin Milne

The Extraordinary Tale of Gustav Klimt’s Masterpiece, Portrait of Adele Bloch-Bauer. By Anne Marie O’Connor. Read by Robbin Milne

The Extraordinary Tale of Gustav Klimt’s Masterpiece, Portrait of Adele Bloch-Bauer. By Anne Marie O’Connor. Read by Robbin Milne

The Extraordinary Tale of Gustav Klimt’s Masterpiece, “Portrait of Adele Bloch-Bauer. By Anne-Marie O’Connor. Read by Robbin Milne

The Extraordinary Tale of Gustav Klimt’s Masterpiece, “Portrait of Adele Bloch-Bauer. By Anne-Marie O’Connor. Read by Robbin Milne

The Extraordinary Tale of Gustav Klimt’s Masterpiece, “Portrait of Adele Bloch-Bauer. By Anne-Marie O’Connor. Read by Robbin Milne

The Extraordinary Tale of Gustav Klimt’s Masterpiece, “Portrait of Adele Bloch-Bauer. By Anne-Marie O’Connor. Read by Robbin Milne

The 'Woman in Gold' was one of Gustav Klimt's most famous paintings. It was a portrait of Adele Bloch-Bauer, but it was taken from her family by the Nazis and only returned to them after a long legal battle. Louise Hidalgo has been speaking to Randol Schoenberg the young lawyer who took on the case. Picture: Adele Bloch-Bauer I, or 'The Woman in Gold', painted in 1907 by Gustav Klimt, from the collection of the Neue Galerie in New York. (Credit: Fine Art Images/Heritage Images/Getty Images)

Covering controversial literature, JonBenet Ramsay, Adele Bloch-Bauer, flat earthers, abortion and Southpark...

This week I attended a small gathering to hear the story behind the “Woman In Gold”, the Klimt painting of Adele Bloch Bauer which was painted in Vienna in 1907. Our honored guest was Peter Altmann, one of the few remaining heirs to receive a portion of the proceeds from the sale of the Klimt paintings just a few years back. He told a wonderful story of his mother who fought for years to recover the paintings for the sake of the family. It was a story of Jewish struggle during the war and a story of recovering what was lost. It was a true life story of what it was like for the Jews to have lost everything they owned at the hands of a powerful evil force. So much lost. So many lives lost. It was struggle against an pure evil that was out for their destruction. In Joshua 9 and 10, we are reminded that this was true of Israel as well. The Canaanites, Hittites, Amorites and every other established enclave in the region were hostile toward this new clan moving into the neighborhood. It was all out war. Not much different from our situation. Right? War is upon us. The evil one is out to destroy us. And he does not fight fair. He does not announce himself nor reveal his strategies. Join us Sunday as we discover the parallels between Israel's warfare and our spiritual warfare. Todd

Veteran trial attorney William L. Lerach recounts his successful class action law suits against companies that prospered by taking advantage of Holocaust victims. Series: "A Life in the Law: Illusions Lost & Lessons Learned " [Public Affairs] [Humanities] [Show ID: 30396]

Veteran trial attorney William L. Lerach recounts his successful class action law suits against companies that prospered by taking advantage of Holocaust victims. Series: "A Life in the Law: Illusions Lost & Lessons Learned " [Public Affairs] [Humanities] [Show ID: 30396]

Sep. 5, 2015. Anne-Marie O'Connor discusses "The Lady in Gold: The Extraordinary Tale of Gustav Klimt's Masterpiece, Portrait of Adele Bloch-Bauer" at the 2015 Library of Congress National Book Festival in Washington, D.C. Speaker Biography: Journalist and author Anne-Marie O'Connor has covered post-Soviet Cuba, American artists and intellectuals, and wars in Nicaragua, El Salvador and Guatemala. While a student at the University of California at Berkeley, she and fellow students created an award-winning documentary about the repression of Chilean mural artists after the 1973 military coup. O'Connor has worked as a writer for Reuters, The Washington Post, the Los Angeles Times, the Miami Herald, UPI and the Cox Newspaper chain. Her work has also been featured in Esquire, the Christian Science Monitor and The Nation. Her award-winning book, "The Lady in Gold: The Extraordinary Tale of Gustav Klimt's Masterpiece, Portrait of Adele Bloch-Bauer," is the best-selling story of Klimt's "Portrait of Adele Bloch-Bauer" and Maria Altmann's legal battle to reclaim it from Austria along with several other Gustav Klimt paintings. O'Connor's book inspired the movie "Woman in Gold." For transcript, captions, and more information, visit http://www.loc.gov/today/cyberlc/feature_wdesc.php?rec=6910

Sep. 5, 2015. After a multimedia overview of the Hollywood industry by A. Scott Berg, Washington Post film critic Ann Hornaday moderated a panel on making books into movies with Lawrence Wright, Anne-Marie O'Connor & Berg at the 2015 Library of Congress National Book Festival in Washington, D.C. Speaker Biography: With the publication of his first book, "Max Perkins: Editor of Genius," in 1978, A. Scott Berg won a National Book Award. His third book, "Lindbergh," about the famous aviator Charles Lindbergh, won the Pulitzer Prize in 1998. Just 12 days after Katharine Hepburn died in 2003, Berg published "Kate Remembered," based on his 20-year friendship with the actress. Berg is well-known for the exhaustive research he does for his works, and he began research in 2000 for his recent biography, "Wilson," about the onetime president of Princeton University, governor of New Jersey and 28th president of the United States. Speaker Biography: Pulitzer Prize-winning Lawrence Wright is a staff writer for The New Yorker as well as an author, screenwriter and playwright. He is the author of the novel "Noriega: God's Favorite" and the script for the movie by the same name. His best-selling nonfiction works include the award-winning "The Looming Tower: Al-Qaeda and the Road to 9/11," "Going Clear: Scientology, Hollywood and the Prison of Belief" and his newest book, "Thirteen Days in September: The Dramatic Story of the Struggle for Peace," Wright is also a keyboard player for the Austin blues band WhoDo. Speaker Biography: Journalist and author Anne-Marie O'Connor has covered post-Soviet Cuba, American artists and intellectuals, and wars in Nicaragua, El Salvador and Guatemala. While a student at the University of California at Berkeley, she and fellow students created an award-winning documentary about the repression of Chilean mural artists after the 1973 military coup. O'Connor has worked as a writer for Reuters, The Washington Post, the Los Angeles Times, the Miami Herald, UPI and the Cox Newspaper chain. Her work has also been featured in Esquire, the Christian Science Monitor and The Nation. Her award-winning book, "The Lady in Gold: The Extraordinary Tale of Gustav Klimt's Masterpiece, Portrait of Adele Bloch-Bauer," is the best-selling story of Klimt's "Portrait of Adele Bloch-Bauer" and Maria Altmann's legal battle to reclaim it from Austria along with several other Gustav Klimt paintings. O'Connor's book inspired the movie "Woman in Gold." For transcript, captions, and more information, visit http://www.loc.gov/today/cyberlc/feature_wdesc.php?rec=6890

E. Randol Schoenberg, the grandson of the composer Arnold Schoenberg, is an expert in handling cases involving looted art and the recovery of property stolen by the Nazi authorities during the Holocaust. He tells the story here of his most prominent case, “Republic of Austria v. Altmann” which resulted in the successful return of six paintings by Gustav Klimt, including the “Golden Lady,” to their rightful owners. Series: "Library Channel" [Public Affairs] [Humanities] [Arts and Music] [Show ID: 29174]

E. Randol Schoenberg, the grandson of the composer Arnold Schoenberg, is an expert in handling cases involving looted art and the recovery of property stolen by the Nazi authorities during the Holocaust. He tells the story here of his most prominent case, “Republic of Austria v. Altmann” which resulted in the successful return of six paintings by Gustav Klimt, including the “Golden Lady,” to their rightful owners. Series: "Library Channel" [Public Affairs] [Humanities] [Arts and Music] [Show ID: 29174]

E. Randol Schoenberg, the grandson of the composer Arnold Schoenberg, is an expert in handling cases involving looted art and the recovery of property stolen by the Nazi authorities during the Holocaust. He tells the story here of his most prominent case, “Republic of Austria v. Altmann” which resulted in the successful return of six paintings by Gustav Klimt, including the “Golden Lady,” to their rightful owners. Series: "Library Channel" [Public Affairs] [Humanities] [Arts and Music] [Show ID: 29174]

E. Randol Schoenberg, the grandson of the composer Arnold Schoenberg, is an expert in handling cases involving looted art and the recovery of property stolen by the Nazi authorities during the Holocaust. He tells the story here of his most prominent case, “Republic of Austria v. Altmann” which resulted in the successful return of six paintings by Gustav Klimt, including the “Golden Lady,” to their rightful owners. Series: "Library Channel" [Public Affairs] [Humanities] [Arts and Music] [Show ID: 29174]

Gustav Klimt. Helen Mirren. The same director who brought us “My Week with Marilyn”. Hollister & O’Toole were asked to moderate a panel of experts (weighing in on the art, the legal issues, and the movie itself) in conjunction with a special premiere screening of “Woman in Gold”. The panel was so informative, we wanted to share some of that information with our listeners. So Jerry Forman, Esq. was kind enough to join us in our studio – Jerry is well-known in legal circles for his work on seeking restitution for Nazi crimes – he also happens to be the author of Graphic History of Antisemitism. Jerry provides great insight into Maria Altmann’s case – a fascinating triumph – everything from what to do if you find yourself before the U.S. Supreme Court and you don’t understand the question – to how Maria Altmann’s attorney found jurisdiction in a bookstore. Ryan Reynolds might have played a lawyer on the big screen, but “Foreign Sovereign Immunities Act” naturally rolls right off Jerry’s tongue. Meanwhile, O’Toole’s nose was in the book inspired by the same set of characters: The Lady in Gold: The Extraordinary Tale of Gustav Klimt’s Masterpiece, Portrait of Adele Bloch-Bauer by Anne-Marie O’Connor. O’Toole thinks the book should be an entire mini-series (The Orient Express! Syphilis! Bambi!) – it’s that rich. As always, Hollister humorously keeps us all on track – weighing in on the performances (Jonathan Pryce; Katie Holmes; Elizabeth McGovern) – and what she thinks of both the painting and the movie. Trust us: if you’re a deep-diver, this is one podcast you don’t want to miss.

Reporter Anne-Marie O'Connor uses the iconic gold portrait of Adele Bloch-Bauer to engage us in the exciting cultural life of fin-de-siecle Vienna, where wealthy Jewish patrons supported the work of ground-breaking artists, lived in grand homes on the famous Ringstrasse, and thought life was good and they were valued as Austrians. With O'Connor's background in art and her skills of investigative reporting, we come to know the people who turn the art world upside down during the last years of the Empire. Klimt, rock star artist of his era, is in great demand. Her family treasured his portrait of Adele Bloch-Bauer, and the Austrians came to regard it as their Mona Lisa. Adele Bloch-Bauer, as O'Connor explains, was different. This wealthy Jewish woman hosted “Red Saturdays” at home, salons in which she voiced her opinions on the issues of the day, eager to implement reforms to improve workers' lives. O'Connor characterizes her as “an unfinished woman,” for she died at 43. Wishing to immortalize Klimt, she directed that the portraits and landscapes that she and her husband had in their home be given to the Austrian Gallery. But after Adele died, life changed for Jews in Vienna: in 1938, the Anschluss made Austria part of Nazi Germany. Hitler's henchmen commandeered Adele's home and helped themselves to paintings and other works of art. Her family survived, barely. When the war ended, Austria kept the Klimts. When the battle to recover the Klimt portrait resumed in Los Angles in the 1990s, O'Connor interviewed Maria Altmann, niece of Adele Bloch-Bauer, who spearheaded the family's legal case. Working with Altmann was attorney Randol Schoenberg, grandson of the famed composer and passionate advocate in the battle to recover the painting. Listen to this interview for further details of The Lady in Gold and read the book to learn more. (See the Artsy page on Klimt; it's terrific.) Learn more about your ad choices. Visit megaphone.fm/adchoices

Reporter Anne-Marie O’Connor uses the iconic gold portrait of Adele Bloch-Bauer to engage us in the exciting cultural life of fin-de-siecle Vienna, where wealthy Jewish patrons supported the work of ground-breaking artists, lived in grand homes on the famous Ringstrasse, and thought life was good and they were valued as Austrians. With O’Connor’s background in art and her skills of investigative reporting, we come to know the people who turn the art world upside down during the last years of the Empire. Klimt, rock star artist of his era, is in great demand. Her family treasured his portrait of Adele Bloch-Bauer, and the Austrians came to regard it as their Mona Lisa. Adele Bloch-Bauer, as O’Connor explains, was different. This wealthy Jewish woman hosted “Red Saturdays” at home, salons in which she voiced her opinions on the issues of the day, eager to implement reforms to improve workers’ lives. O’Connor characterizes her as “an unfinished woman,” for she died at 43. Wishing to immortalize Klimt, she directed that the portraits and landscapes that she and her husband had in their home be given to the Austrian Gallery. But after Adele died, life changed for Jews in Vienna: in 1938, the Anschluss made Austria part of Nazi Germany. Hitler’s henchmen commandeered Adele’s home and helped themselves to paintings and other works of art. Her family survived, barely. When the war ended, Austria kept the Klimts. When the battle to recover the Klimt portrait resumed in Los Angles in the 1990s, O’Connor interviewed Maria Altmann, niece of Adele Bloch-Bauer, who spearheaded the family’s legal case. Working with Altmann was attorney Randol Schoenberg, grandson of the famed composer and passionate advocate in the battle to recover the painting. Listen to this interview for further details of The Lady in Gold and read the book to learn more. (See the Artsy page on Klimt; it’s terrific.) Learn more about your ad choices. Visit megaphone.fm/adchoices

Reporter Anne-Marie O’Connor uses the iconic gold portrait of Adele Bloch-Bauer to engage us in the exciting cultural life of fin-de-siecle Vienna, where wealthy Jewish patrons supported the work of ground-breaking artists, lived in grand homes on the famous Ringstrasse, and thought life was good and they were valued as Austrians. With O’Connor’s background in art and her skills of investigative reporting, we come to know the people who turn the art world upside down during the last years of the Empire. Klimt, rock star artist of his era, is in great demand. Her family treasured his portrait of Adele Bloch-Bauer, and the Austrians came to regard it as their Mona Lisa. Adele Bloch-Bauer, as O’Connor explains, was different. This wealthy Jewish woman hosted “Red Saturdays” at home, salons in which she voiced her opinions on the issues of the day, eager to implement reforms to improve workers’ lives. O’Connor characterizes her as “an unfinished woman,” for she died at 43. Wishing to immortalize Klimt, she directed that the portraits and landscapes that she and her husband had in their home be given to the Austrian Gallery. But after Adele died, life changed for Jews in Vienna: in 1938, the Anschluss made Austria part of Nazi Germany. Hitler’s henchmen commandeered Adele’s home and helped themselves to paintings and other works of art. Her family survived, barely. When the war ended, Austria kept the Klimts. When the battle to recover the Klimt portrait resumed in Los Angles in the 1990s, O’Connor interviewed Maria Altmann, niece of Adele Bloch-Bauer, who spearheaded the family’s legal case. Working with Altmann was attorney Randol Schoenberg, grandson of the famed composer and passionate advocate in the battle to recover the painting. Listen to this interview for further details of The Lady in Gold and read the book to learn more. (See the Artsy page on Klimt; it’s terrific.) Learn more about your ad choices. Visit megaphone.fm/adchoices

Reporter Anne-Marie O’Connor uses the iconic gold portrait of Adele Bloch-Bauer to engage us in the exciting cultural life of fin-de-siecle Vienna, where wealthy Jewish patrons supported the work of ground-breaking artists, lived in grand homes on the famous Ringstrasse, and thought life was good and they were valued as Austrians. With O’Connor’s background in art and her skills of investigative reporting, we come to know the people who turn the art world upside down during the last years of the Empire. Klimt, rock star artist of his era, is in great demand. Her family treasured his portrait of Adele Bloch-Bauer, and the Austrians came to regard it as their Mona Lisa. Adele Bloch-Bauer, as O’Connor explains, was different. This wealthy Jewish woman hosted “Red Saturdays” at home, salons in which she voiced her opinions on the issues of the day, eager to implement reforms to improve workers’ lives. O’Connor characterizes her as “an unfinished woman,” for she died at 43. Wishing to immortalize Klimt, she directed that the portraits and landscapes that she and her husband had in their home be given to the Austrian Gallery. But after Adele died, life changed for Jews in Vienna: in 1938, the Anschluss made Austria part of Nazi Germany. Hitler’s henchmen commandeered Adele’s home and helped themselves to paintings and other works of art. Her family survived, barely. When the war ended, Austria kept the Klimts. When the battle to recover the Klimt portrait resumed in Los Angles in the 1990s, O’Connor interviewed Maria Altmann, niece of Adele Bloch-Bauer, who spearheaded the family’s legal case. Working with Altmann was attorney Randol Schoenberg, grandson of the famed composer and passionate advocate in the battle to recover the painting. Listen to this interview for further details of The Lady in Gold and read the book to learn more. (See the Artsy page on Klimt; it’s terrific.) Learn more about your ad choices. Visit megaphone.fm/adchoices

Reporter Anne-Marie O’Connor uses the iconic gold portrait of Adele Bloch-Bauer to engage us in the exciting cultural life of fin-de-siecle Vienna, where wealthy Jewish patrons supported the work of ground-breaking artists, lived in grand homes on the famous Ringstrasse, and thought life was good and they were valued as Austrians. With O’Connor’s background in art and her skills of investigative reporting, we come to know the people who turn the art world upside down during the last years of the Empire. Klimt, rock star artist of his era, is in great demand. Her family treasured his portrait of Adele Bloch-Bauer, and the Austrians came to regard it as their Mona Lisa. Adele Bloch-Bauer, as O’Connor explains, was different. This wealthy Jewish woman hosted “Red Saturdays” at home, salons in which she voiced her opinions on the issues of the day, eager to implement reforms to improve workers’ lives. O’Connor characterizes her as “an unfinished woman,” for she died at 43. Wishing to immortalize Klimt, she directed that the portraits and landscapes that she and her husband had in their home be given to the Austrian Gallery. But after Adele died, life changed for Jews in Vienna: in 1938, the Anschluss made Austria part of Nazi Germany. Hitler’s henchmen commandeered Adele’s home and helped themselves to paintings and other works of art. Her family survived, barely. When the war ended, Austria kept the Klimts. When the battle to recover the Klimt portrait resumed in Los Angles in the 1990s, O’Connor interviewed Maria Altmann, niece of Adele Bloch-Bauer, who spearheaded the family’s legal case. Working with Altmann was attorney Randol Schoenberg, grandson of the famed composer and passionate advocate in the battle to recover the painting. Listen to this interview for further details of The Lady in Gold and read the book to learn more. (See the Artsy page on Klimt; it’s terrific.) Learn more about your ad choices. Visit megaphone.fm/adchoices

Reporter Anne-Marie O’Connor uses the iconic gold portrait of Adele Bloch-Bauer to engage us in the exciting cultural life of fin-de-siecle Vienna, where wealthy Jewish patrons supported the work of ground-breaking artists, lived in grand homes on the famous Ringstrasse, and thought life was good and they were valued as Austrians. With O’Connor’s background in art and her skills of investigative reporting, we come to know the people who turn the art world upside down during the last years of the Empire. Klimt, rock star artist of his era, is in great demand. Her family treasured his portrait of Adele Bloch-Bauer, and the Austrians came to regard it as their Mona Lisa. Adele Bloch-Bauer, as O’Connor explains, was different. This wealthy Jewish woman hosted “Red Saturdays” at home, salons in which she voiced her opinions on the issues of the day, eager to implement reforms to improve workers’ lives. O’Connor characterizes her as “an unfinished woman,” for she died at 43. Wishing to immortalize Klimt, she directed that the portraits and landscapes that she and her husband had in their home be given to the Austrian Gallery. But after Adele died, life changed for Jews in Vienna: in 1938, the Anschluss made Austria part of Nazi Germany. Hitler’s henchmen commandeered Adele’s home and helped themselves to paintings and other works of art. Her family survived, barely. When the war ended, Austria kept the Klimts. When the battle to recover the Klimt portrait resumed in Los Angles in the 1990s, O’Connor interviewed Maria Altmann, niece of Adele Bloch-Bauer, who spearheaded the family’s legal case. Working with Altmann was attorney Randol Schoenberg, grandson of the famed composer and passionate advocate in the battle to recover the painting. Listen to this interview for further details of The Lady in Gold and read the book to learn more. (See the Artsy page on Klimt; it’s terrific.) Learn more about your ad choices. Visit megaphone.fm/adchoices

Reporter Anne-Marie O’Connor uses the iconic gold portrait of Adele Bloch-Bauer to engage us in the exciting cultural life of fin-de-siecle Vienna, where wealthy Jewish patrons supported the work of ground-breaking artists, lived in grand homes on the famous Ringstrasse, and thought life was good and they were valued as Austrians. With O’Connor’s background in art and her skills of investigative reporting, we come to know the people who turn the art world upside down during the last years of the Empire. Klimt, rock star artist of his era, is in great demand. Her family treasured his portrait of Adele Bloch-Bauer, and the Austrians came to regard it as their Mona Lisa. Adele Bloch-Bauer, as O’Connor explains, was different. This wealthy Jewish woman hosted “Red Saturdays” at home, salons in which she voiced her opinions on the issues of the day, eager to implement reforms to improve workers’ lives. O’Connor characterizes her as “an unfinished woman,” for she died at 43. Wishing to immortalize Klimt, she directed that the portraits and landscapes that she and her husband had in their home be given to the Austrian Gallery. But after Adele died, life changed for Jews in Vienna: in 1938, the Anschluss made Austria part of Nazi Germany. Hitler’s henchmen commandeered Adele’s home and helped themselves to paintings and other works of art. Her family survived, barely. When the war ended, Austria kept the Klimts. When the battle to recover the Klimt portrait resumed in Los Angles in the 1990s, O’Connor interviewed Maria Altmann, niece of Adele Bloch-Bauer, who spearheaded the family’s legal case. Working with Altmann was attorney Randol Schoenberg, grandson of the famed composer and passionate advocate in the battle to recover the painting. Listen to this interview for further details of The Lady in Gold and read the book to learn more. (See the Artsy page on Klimt; it’s terrific.) Learn more about your ad choices. Visit megaphone.fm/adchoices

Washington Post writer Anne-Marie O'Connor, author of The Lady in Gold, explores the artistic and cultural ferment of Vienna--driven in part by women and Jews--at the turn of the 20th century. This was the setting in which Gustav Klimt painted his famous portrait of Adele Bloch-Bauer--a painting that was then stolen by the Nazis, renamed "The Lady in Gold," and displayed for decades in Austria's national Belvedere Museum. After years-long lawsuits, Bloch-Bauer's heir, Los Angeles dressmaker Maria Altmann, won the painting back.

Art and history can never be separated. A conversation with Scott Gutterman, deputy director of the Neue Galerie.

Art and history can never be separated. A conversation with Scott Gutterman, deputy director of the Neue Galerie.

Art and history can never be separated. A conversation with Scott Gutterman, deputy director of the Neue Galerie.