"Unsigned oil painting on canvas. • Quote from Rossana Bossaglia in Quadri e Scultuee nr 36 of 2000 entitled: Mysterious Klimt. The Discovery of an unpublished painting (publication that preceded the presentation of the portrait in Piacenza, Galleria Ricci Oddi from 15 November to June 15, 2003. On the occasion of the event, the speaker of the presentation was Rossana Bossaglia herself)
"During the opening period of ... recent exhibitions, that of Klimt and the Secession at the Mazzotta Foundation and .... in Milan, I have been subjected to paintings referring to .. artists that seem to me of great interest ...
I will now dwell on the alleged Klimt. It is a half-figure female portrait, oil on canvas, 80x69 cm, ... The work is not signed but in my opinion not even finished, as if it had remained in the artist's studio ... following his rapid death and early, but the hypothesis that it belongs to him seems very convincing to me. Meanwhile, for the compositional cut, the person's attitude, his typology, the way in which the shoulder slides in the foreground, the lapel collects around the neck, correspond to the Klimtian way, especially where the artist does not practice in Byzantine reenactments and both, to be clear, more naturalistic. This may be, it is true, one of the attributive discussion points: the portrait has the ease of a real shot that we are not used to recording in the famous series of Klimt's works, but it is, in fact, a portrait probably on commission, intended to a private use and if we select the female portraits of Klimt, from that of Adele Blockbauer to that of Anna Staude we identify analogies with this, especially if we stop at the works of the last period of the artist, bearing in mind also the fact that he it continued, it is true, to represent female figures in a decorative / symbolic form, but not always; the face of this disturbing and melancholy character is not far from that of other women portrayed by him, indeed it is interesting to note how the character, although it has its own special physiognomy, fully characterized, is described with some details that frequently recur in the Klimtian typologies : the thick eyebrows drawn in one stroke, the half-open mouth that allows a glimpse of the upper incisors and the wavy and compact hair, the reclined head: About the hair their shape, like that of clothing, refers to the costume female fashion not before 1915, on the contrary, I would opt for 1916-1917 and finally the brushstroke: no analogy, even if highly suggestive, would hold if there was no relationship with Klimt's way of conducting the brush. It seems to me that, both in the face, in the hair and in the drapery, and finally in the background, we find the conduct of the typical sign of Klimt, more summary, we understand, especially in the background, compared to the carefully finished works, but, precisely , we were talking about a private portrait and not entirely concluded. I would also like to be able to know who this woman is, with her eyes circled, perhaps sick, certainly with a background of sadness, which emerges in all the features of the face. A beautiful portrait, a disturbing character
Rossana Bossaglia: (publications and events, among other things)
Serge Sabarski: edited by Peter Baum, Rossana Bossaglia etc
Series of lectures on Viennese art at the Sforzesco Castle in Milan
Klimt: the evolution of art nouveau "
"Unsigned oil painting on canvas. Quote from Boris Petkovski's essay" Considerations on the portrait of an unfinished and unsigned woman ... "21.11.2001
"... this work differs from the stylistic physiognomy of certain other portraits from the last phase of Klimt. On the other hand, could the procedure adopted in this unfinished work of yours be based on some of its earlier, earlier stages, which appeared already in the late 1980s and during the 1990s? 19th century. We must also consider the fact that the figures in some of his allegorical or symbolic representations of the last years of his life…. On the other hand, in my opinion, the procedure adopted in this unfinished work could be based on the "memory", on the "reuse" by Klimt of some of its earlier phases, which appeared already in the late eighties and during the nineties of the nineteenth century: baroque, rococo, naturalistic: And if it is right that the Portrait of a woman from Milan is from 1916/1917, let's not forget a fact: that this was already the period of the "return to order", to classicism, expressed in a part of European art ... after the "assault" of the first avant-garde, called "historical". But this spirit linked to the (desperate) concern of death, disease, nostalgia also emerges from this beautiful face of the unknown woman in Milan for the past time, which invaded all the culture of the era in which Klimt lived
Boris Petkovski: (director and founder of the Museum of Contemporary Art - 1964 - in Sopje, he organized over 200 exhibitions) "