Study of an Old Man with Ivy Wreath, painted around 1888–1890, shows an elderly man in strict profile, his long grey beard falling over a brown coat, a living crown of ivy leaves circling his thinning hair.
At first glance Gustav Klimt’s Baby (Cradle) does not look like a portrait at all. A pale infant’s face rises from a mountain of quilts, ruffles, and patterned cloth; a small hand appears, then disappears again.
Gustav Klimt’s Portrait of Marie Henneberg is not a picture that happened to find a wall. It was conceived for a specific place: the tall entrance hall of a new villa on Vienna’s Hohe Warte.
Gustav Klimt’s Farm Garden with Crucifix — in German, Bauerngarten mit Kruzifix — is a square summer landscape in which a rural wayside shrine nearly disappears into flowers.
Gustav Klimt painted The Park around 1909–1910 on the landward side of Schloss Kammer beside Lake Attersee.
Upper Austrian Farmhouse, painted in 1911 and also known as Farmhouse in Buchberg, places the viewer under an apple tree so dense that the old house behind it feels half-remembered rather than fully seen.
Painted in 1912, the picture places the viewer inside a double row of old linden trees. Their trunks lean and twist; their crowns knit together into a green vault.
Gustav Klimt’s Schloss Kammer on the Attersee I, also known as Water Castle or Wasserschloss is an oil painting from 1908–1909 in which a pale castle on Lake Attersee appears.
The painting shows Litzlberg Island in Austria’s Lake Attersee as seen from the northern shore, looking south. Klimt pushed the horizon so high that the composition is almost nothing but water.
On a square canvas a lone sunflower rises at the exact centre, its head slightly inclined, its leaves falling like a cloak over a crowded bed of summer flowers.
A pear tree in full bloom nearly swallows the canvas. Up close it looks like a carpet of green, gold, lavender, and rose; step back, and the dabs resolve into leaves, blossoms, and fruit hanging in a dense canopy.
Beech Grove I, painted around 1902, shows a stand of young beeches so tightly framed that the forest never quite opens. There is almost no sky and no path.
Kirche in Cassone — also known as Church in Cassone or Landscape with Cypresses — shows the hillside hamlet of Cassone stacked like a mosaic.
Gustav Klimt’s Approaching Thunderstorm (The Large Poplar II) does not offer the golden shimmer or sunlit gardens for which he is most famous.
In the summer of 1900 Gustav Klimt pointed his gaze at Lake Attersee and painted almost nothing else. The resulting picture is known as At Lake Attersee or Am Attersee.
