Johanna Staude

[2][1] The Financial Times has described the Klimt painting as the culmination of his development as a portraitist, portraying "a new, post-war woman, self-aware, intelligent, modern, staring boldly out at us, sporting a fashionable short hair-cut and black feather boa".[5] The portrait prominently features a blouse made of the Blätter (Leaves) fabric designed by textile artist Martha Alber of the Wiener Werkstätte.[2][6][b] Unlike earlier Klimt portraits, Staude is not integrated into the background, conveying a sense of autonomy which many observers have interpreted as signifying a confident "modern woman" who is "daringly dressed".[7][3] The stark colour contrast between the turquoise fabric pattern and the mandarin orange background recalls French Fauvism as well as German Expressionism.[4][1] In the early 1960s, Staude said in an interview that she had modeled for both Klimt and Egon Schiele, but it is unknown which specific paintings she posed for in addition to her portrait.
Gustav KlimtÖsterreichische Galerie BelvedereViennaEgon SchieleThe Financial TimesWiener WerkstätteFrench FauvismGerman ExpressionismPeter AltenbergLady with a Fan (Dame mit Fächer)Christian M. NebehayList of paintings by Gustav KlimtFinancial TimesProQuestThe New York TimesThe Art NewspaperList of paintingsSchubert at the PianoBeethoven FriezeJudith and the Head of HolofernesInsel im AtterseeBirnbaumHope IThe Three Ages of WomanDanaëPortrait of Adele Bloch-Bauer IWater Serpents IIHope IIThe KissSchloss by the WaterThe Tree of Life, Stoclet FriezePortrait of Adele Bloch-Bauer IIThe MaidenDeath and LifePortrait of a LadyWomen FriendsPortrait of Fräulein LieserLady with a FanKlimt University of Vienna Ceiling PaintingsStoclet FriezeKlimt VillaErnst Klimt (brother)Emilie Louise Flöge (life companion)Bride of the WindStealing KlimtWoman in Gold