Klimt's Studies for the Paintings "Hope I" and "Hope II" (1902–08)

The precursor to the main figure is the figure of a heavily pregnant naked woman shown in the top right of Medicine.

Among the numerous individual studies of pregnant models, the sheet with a figure sketched twice in profile comes especially close to the main figure in the painting. In terms of the strict axiality of positions and gestures and in the taut yet sensitive contours, both profile figures largely correspond to the studies for the Beethoven Frieze.

The motif of the belly bulge with a flowing outline—the core in all studies for Hope I—is testament to Klimt's fascination with the mystery of unborn life. In the studies for the individual pregnant figure, the model typically looks down at her crossed hands which protect her stomach.

The austere, monumental depictions of the skeleton dressed in a gown almost seem human. These show Klimt's endeavors to anchor the figures within the surface while also leaving them in a timeless void.

Between the intersection in the area of the skull and the point at which the toes of the dangling feet almost touch the edge of the sheet, the vertical flow of delicate drapery dominates.

The studies for the painting Hope II are—unlike the packing paper sheets for Hope I—drawn on a type of Japanese paper Klimt used from around 1904.

The standing woman with a broadly falling frilly dress looks directly at the observer, conveying a strikingly positive, down-to-earth expression.

This sheet is one of the autonomous drawings in which Klimt explored various aspects of pregnancy, away from the pessimistic central idea. The brilliant lines enriched with red and blue accents in these drawings are sublime.