plate no. 4575
Portrait of Adele Bloch-Bauer I
Gustav Klimt, 1907
recreation guide
Portrait of Adele Bloch-Bauer I is a defining work of Gustav Klimt’s 'Golden Phase,' characterized by the extensive use of gold and silver leaf to create a resplendent, stiff decoration inspired by Byzantine mosaics (Source 1). Commissioned in 1903 and completed in 1907, the painting represents a departure from naturalistic illusionism, instead treating the portrait as a painted symbol where the medium’s vitality—specifically the metallic sheen and decorative motifs—takes precedence over realistic depiction (Source 3). The work was part of an elaborate process involving over a hundred preparatory sketches (Source 1) and reflects Klimt’s role as a leading figure in the Vienna Secession, breaking with conservative Viennese art traditions (Source 6).
estimated time
40-60 hours over 8-12 sessions (due to drying times for gesso and leaf application)
materials
7 items
steps
6 in sequence
materials
| item | purpose | modern equivalent |
|---|---|---|
| Oil paints | Primary medium for the portrait | — |
| Gold leaf (23-24 karat) | Creating the background and decorative elements, inspired by Byzantine mosaics | — |
| Silver leaf | Adding contrast and decorative motifs alongside gold | — |
| Gesso (binder mixed with chalk or gypsum) | Creating bas-relief decorative motifs | Acrylic gesso or traditional rabbit-skin glue gesso |
| Canvas or wood panel | Support surface | — |
| Oil of copavia or linseed oil | Medium for glazing and scumbling | Linseed oil or walnut oil |
| Black, ultramarine, and white pigments | For the initial grisaille underpainting | — |
preparation
surface prep
The surface must be prepared to accept both oil paint and metallic leaf. While specific priming details for this exact canvas are not detailed in the sources, Klimt’s use of gesso for bas-relief implies a rigid, smooth ground capable of holding thick paste. The frame itself was covered in gold leaf by architect Josef Hoffmann, suggesting the painting’s surface was intended to integrate with a gilded border (Source 1).
underdrawing
Klimt created over a hundred preparatory sketches between 1903 and 1904, indicating a highly planned composition rather than an improvisational underdrawing (Source 1). The artist likely transferred these detailed sketches to the final surface to ensure the precise placement of the complex decorative patterns.
underpainting
The artist likely employed a grisaille (monochrome) underpainting using black, ultramarine, and white, as described in traditional oil painting practices for establishing tone before adding color (Source 2). This method allows the artist to 'mentally extract' red and yellow tones, focusing on form and light before applying the vibrant glazes and metallic leaf (Source 2).
color palette
Gold
Gold leaf
Background and decorative motifs, inspired by Ravenna mosaics
Silver
Silver leaf
Decorative motifs and contrast
Black
Black pigment
Grisaille underpainting and defining forms
Ultramarine
Ultramarine pigment
Grisaille underpainting
White
White pigment
Grisaille underpainting and highlights
Red/Yellow tones
Transparent oil glazes
Flesh tones and clothing, applied via glazing and scumbling
composition
The composition is characterized by a 'stiff decoration' and 'resplendence' derived from the Byzantine mosaics of Justinian I and Empress Theodora in Ravenna (Source 1). The subject is likely presented with a sacred or magical quality, underlining an 'essential erotic ingredient' in Klimt’s view of the world (Source 6). The painting avoids naturalistic illusion, instead presenting the subject as a 'painted symbol' (Source 3).
step by step
underdrawing→underpainting→first pass→refining→finishing
underdrawing
step 01
Transfer the preparatory sketches to the prepared surface. Klimt made over 100 sketches, so precision is key.
Tip — Ensure the decorative patterns are accurately placed before applying any paint.
Transfer
underpainting
step 02
Apply a grisaille underpainting using black, ultramarine, and white to establish tones and forms.
Tip — Focus on light and shadow, mentally extracting red and yellow colors as per traditional practice.
Grisaille
first pass
step 03
Apply gold and silver leaf to the background and designated decorative areas.
Tip — Ensure the surface is properly sized to accept the leaf. This step creates the 'resplendence' noted by contemporaries.
Gilding
refining
step 04
Add decorative motifs in bas-relief using gesso (binder mixed with chalk or gypsum).
Tip — Allow gesso to dry completely before painting over it. This adds texture and depth to the decorative elements.
Bas-relief
step 05
Glaze and scumble the flesh tones and clothing with transparent oil colors, particularly red and yellow tones.
Tip — Glazing adds transparency, while scumbling adds semi-opaque layers that interact with the underlying grisaille.
Glazing and Scumbling
finishing
step 06
Final adjustments to the decorative patterns and integration of the painted elements with the gold leaf.
Tip — Ensure the 'stiff decoration' does not overwhelm the portrait’s likeness, balancing symbol and representation.
Integration
critical techniques
Gilding
Klimt used gold and silver leaf extensively in his 'Golden Phase,' inspired by Byzantine mosaics. This technique creates a non-naturalistic, sacred quality.
Bas-relief with Gesso
Decorative motifs were raised using gesso, adding physical texture to the painting’s surface.
Glazing and Scumbling
Traditional oil painting techniques used to build up color and tone, allowing the underlying grisaille to influence the final appearance.
common pitfalls
- →Attempting to paint naturalistic details over gold leaf without proper sealing, leading to adhesion issues.
- →Overworking the glazes, which can muddy the transparent layers and obscure the underlying grisaille.
- →Ignoring the preparatory sketches, leading to a lack of precision in the complex decorative patterns.
what the sources don't tell us
Where the corpus is silent, we say so rather than guess. These are the gaps a complete recreation guide would normally cover that our source passages don't.
- ·Specific pigments used for the flesh tones and clothing are not detailed in the sources.
- ·The exact sequence of applying gesso versus leaf is not explicitly stated, though gesso is mentioned for bas-relief motifs.
- ·Details about the specific brushwork or handling of the oil paint are not provided.
grounded in
The technical procedure in this guide traces to the following classical art-instruction texts.
The Practice of Oil Painting↗
- COLOURING A MONOCHROME — applied to Grisaille underpainting, glazing, and scumbling techniques
The Practice and Science of Drawing↗
- XX MATERIALS — applied to Philosophy of using materials as symbols rather than illusions
cross-referenced from
Named facts about this artwork and artist were checked against these reference pages.
Wikipedia: Portrait of Adele Bloch-Bauer I↗
- part 4 — applied to Preparatory sketches, gold leaf, gesso, and Byzantine inspiration
- part 2 — applied to Klimt's Golden Phase and use of gold leaf
Read more about the corpus on the sources page and how the guides are built on the methods page.
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