plate no. 7658
The Old Burgtheater
Gustav Klimt, 1889
gouache, paperArt Nouveau (Modern)genre paintingtheaterinteriorfiguresarchitecturechandelieraudience
recreation guide
Gustav Klimt’s 'Auditorium of the Old Burgtheater' (1889) is a monumental gouache on paper commissioned by the Vienna City Council to document the interior of the historic theater before its demolition. Unlike his later Art Nouveau works characterized by gold leaf and abstraction, this piece reflects Klimt’s early academic style and the influence of Hans Makart, aiming for 'authentic and correct' representation (Source 1, Source 2). The composition is distinctive for its low viewpoint from the right side of the stage, offering a wide perspective of the auditorium extending toward the Imperial box on the left (Source 1). It features near-photographic realism, depicting the audience returning to their seats after an intermission, with almost 200 miniature portraits of Viennese society members, including identifiable figures like Johannes Brahms and Karl Lueger (Source 1).
estimated time
40-60 hours over 8-12 sessions
materials
5 items
steps
6 in sequence
materials
| item | purpose | modern equivalent |
|---|---|---|
| Gouache paints | Primary medium for the painting, allowing for opaque, detailed rendering consistent with the work's description as 'gouache on paper' (Source 2). | — |
| Heavyweight paper or paper board | Support surface. The original is on paper, requiring a stable, thick substrate to handle multiple layers of opaque paint without buckling. | 300gsm+ watercolor paper or mounted paper board |
| Fine sable brushes (round and flat) | To achieve the 'near-photographic realism' and render the 'almost 200 miniature portraits' with precision (Source 1). | — |
| Graphite or charcoal pencils | For underdrawing and precise measurements. Klimt made 'precise measurements of the auditorium's architecture' and produced 'many studies on site' (Source 1). | — |
| Reference photographs and architectural plans | Klimt used 'photographs and other reference materials' and 'precise measurements' to ensure accuracy (Source 1). | Digital photos or historical archives of the Old Burgtheater |
preparation
surface prep
Since the original is on paper, the surface should be primed with a thin layer of gesso or acrylic medium to prevent excessive water absorption while maintaining the paper's tooth for detail work. Klimt’s use of 'precise measurements' suggests a need for a stable, flat surface to accommodate the architectural perspective (Source 1).
underdrawing
Begin with a highly accurate architectural underdrawing. Klimt delayed completion to make 'precise measurements of the auditorium's architecture and floor plan' (Source 1). Use a grid method to transfer the perspective from reference materials, ensuring the low viewpoint from the right side of the stage is correctly established (Source 1). Sketch the positions of the balconies, the Imperial box on the left, and the general placement of the audience members.
underpainting
Apply a neutral gray or warm brown wash to establish the tonal values of the auditorium’s interior. This helps in judging the 'chiaro-scuro' effects and the gradation of light from the stage toward the back of the hall, consistent with academic training principles (Source 1, Source 3).
color palette
Deep Reds and Burgundies
Alizarin Crimson, Burnt Umber, Ivory Black
The plush seating and curtains of the auditorium, typical of theater interiors.
Gold and Yellow Ochre
Yellow Ochre, Cadmium Yellow, White
The ornate decorations, railings, and lighting fixtures. While Klimt’s later 'Golden Phase' used leaf, this early work likely used pigment to depict gilded details realistically (Source 1, Source 4).
Black and Dark Browns
Ivory Black, Burnt Sienna
The formal evening wear of the audience members and the shadows in the upper balconies.
Flesh Tones
Raw Sienna, White, Alizarin Crimson
The 'almost 200 miniature portraits' of the audience, requiring subtle variation for individual identification (Source 1).
composition
The composition must reflect a 'low viewpoint from the right side of the stage,' revealing a 'wide perspective of the auditorium that extends toward the Imperial box on the left' (Source 1). The audience is depicted 'returning to their seats after an intermission,' creating a dynamic but orderly scene. Ensure the scale of the figures diminishes accurately toward the back to maintain the 'near-photographic realism' (Source 1).
step by step
underdrawing→underpainting→first pass→refining→finishing
underdrawing
step 01
Transfer the architectural grid and perspective lines onto the paper. Focus on the correct placement of the Imperial box on the left and the stage edge on the right.
Tip — Verify measurements against reference plans to ensure 'authentic and correct' proportions (Source 1).
Perspective Drawing
underpainting
step 02
Block in the large architectural forms with diluted gouache. Establish the light source from the stage area, creating a gradation of light toward the darker rear balconies.
Tip — Use the principle of 'chiaro-scuro' to create depth, noting how 'the tint of the band of the highest tone is insensibly enfeebled' while lower tones are heightened (Source 3).
Tonal Blocking
first pass
step 03
Paint the architectural details: railings, boxes, and curtains. Use opaque gouache to build up the richness of the reds and golds.
Tip — Klimt’s early academic style demands precision in these decorative elements, reflecting the influence of Hans Makart (Source 1).
Opaque Layering
refining
step 04
Begin painting the audience members. Start with the identifiable figures in the foreground and Imperial box, such as Archduke Karl Ludwig and Archduchess Maria Theresia (Source 1).
Tip — Klimt hired friends and relatives as models to reduce costs, suggesting a focus on capturing likeness through observation rather than idealized forms (Source 1).
Miniature Portraiture
step 05
Fill in the remaining audience members. Include details like opera glasses, fans, and evening veils for the anonymous female figures (Source 1).
Tip — Ensure the figures appear to be 'returning to their seats after an intermission,' with some leaning over rails or moving along aisles (Source 1).
Detail Rendering
finishing
step 06
Add final highlights and shadows to enhance the 'near-photographic realism.' Check for any missing identifiable figures, such as Karl Lueger, who was inserted later (Source 1).
Tip — Review the composition for balance between the architectural grandeur and the human element.
Glazing/Highlighting
critical techniques
Photographic Realism
Klimt aimed for 'authentic and correct' depiction, using photographs and precise measurements to achieve a 'near-photographic realism' in the audience and architecture (Source 1).
Miniature Portraiture
Rendering 'almost 200 miniature portraits' with enough detail to identify 133 prominent members of Viennese society (Source 1).
Academic Perspective
Using a 'low viewpoint from the right side of the stage' to create a wide, accurate perspective of the auditorium (Source 1).
common pitfalls
- →Failing to capture the specific 'low viewpoint from the right side of the stage,' which is crucial to the composition's authenticity (Source 1).
- →Neglecting the 'precise measurements' of the architecture, leading to a distorted perspective that contradicts the commission's goal of being 'authentic and correct' (Source 1).
- →Over-stylizing the figures. This work predates Klimt’s 'Golden Phase' and Art Nouveau abstraction; it should reflect his 'early academic style' and 'near-photographic realism' (Source 1, Source 4).
- →Ignoring the specific narrative moment: the audience is 'returning to their seats after an intermission,' not seated statically or standing randomly (Source 1).
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 pigment recipes used by Klimt in 1889 are not detailed in the sources; modern gouache equivalents are suggested.
- ·The exact lighting conditions of the theater during the performance are not described, requiring inference from the 'near-photographic realism' and typical theater lighting.
- ·The specific poses of the 'anonymous female figures' are not detailed beyond 'using opera glasses,' 'leaning over the rail,' or 'moving unaccompanied along the centre and outer aisles' (Source 1).
grounded in
The technical procedure in this guide traces to the following classical art-instruction texts.
Laws of Contrast of Colour↗
- 6. Put beside each other two flat tints... — applied to General principles of chiaroscuro and tonal gradation.
cross-referenced from
Named facts about this artwork and artist were checked against these reference pages.
Wikipedia: Auditorium of the Old Burgtheater↗
- Auditorium of the Old Burgtheater — part 2 — applied to Composition, viewpoint, audience details, and realism claims.
- Auditorium of the Old Burgtheater — part 1 — applied to Medium, commission context, and historical background.
Wikipedia bio — Gustav Klimt↗
- Gustav Klimt — part 7 — applied to Contextualizing the shift from academic style to later Art Nouveau/gold leaf techniques.
Read more about the corpus on the sources page and how the guides are built on the methods page.
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