Klimt's Studies for Female Portraits (c. 1904–05)
We can clearly see in the drawings for portraits around 1904 how Klimt turned toward a new monumentality
Fritza Riedler
Fritza Riedler, neé Langer, was married to Aloys Riedler, a professor at the Institute of Technology in Berlin-Charlottenburg. She often stayed in Vienna. In the portrait completed in 1906, the 46-year-old is enthroned before a backdrop of large and small geometric shapes.
Seated Woman Facing Left (Study for the portrait "Fritza Riedler") (1904) by Gustav KlimtAlbertina Museum
In the studies drawn around 1904, Klimt's breakthrough in geometric design found a clear expression.
In this drawing, the calm balance of the effectively separated areas dominates.
The empty triangular shape of the boisterous armrest acts as a barrier between the viewer and the figure who is raised to the level of aristocracy.
Within the contours, Klimt uses subtle and carefully distributed lines to detail the vertically falling boa, her geometrically stylized hands resting on her lap, and the folds of her clothing.
The finely rhythmic structure of the neck jewelry brightly highlights her face. Her visual contact with the viewer is limited to one eye, and her mouth opens slightly as if she is about to speak.
Margarethe Stonborough-Wittgenstein
Portrait of Margarethe Stonborough-Wittgenstein (1905) by Gustav KlimtOriginal Source: Neue Pinakothek
Woman standing with Head Turned Slightly Left (Study for the portrait "Margarethe Stonborough-Wittgenstein") (1904) by Gustav KlimtAlbertina Museum
The drawings Klimt created for his portrait paintings were more than just technical preparatory works, as shown in particular by the studies for the portrait of Margarethe Stonborough-Wittgenstein completed in 1905.
Margarethe Wittgenstein (1903) by Ferdinand SchmutzerAustrian National Library
The 23-year-old portrayed by Klimt was a member of a famous family. She was a strong personality who, thanks to her intellect and equal levels of artistic and social ability, fully escaped the stereotype of the bourgeois, rich man's daughter.
Karl Wittgenstein (1908) by Ferdinand SchmutzerAustrian National Library
She was the daughter of Karl Wittgenstein, an important figure in the Vienna Secession.
Ludwig Wittgenstein, Paul Wittgenstein, Margarete Wittgenstein, Helene Wittgenstein, Hermine Wittgenstein by Johann HorváthAustrian National Library
Ludwig Wittgenstein (1930) by Moriz NährAustrian National Library
Her siblings include philosopher Ludwig Wittgenstein…
Paul Wittgenstein at the piano (1919) by Madame d'Ora, AtelierAustrian National Library
…and pianist Paul Wittgenstein.
Woman standing with Head Turned Slightly Left (Study for the portrait "Margarethe Stonborough-Wittgenstein") (1904) by Gustav KlimtAlbertina Museum
Four sheets from the extensive series of preparatory works for the painting are in the Albertina and provide revealing insights into the working process.
Woman Standing with Hands Clasped (Study for the portrait "Margarethe Stonborough-Wittgenstein") (1904) by Gustav KlimtAlbertina Museum
Klimt had his model take many poses and positioned her standing upright, apart from in a few studies with her seated.
Woman Standing with Arms Dangling (Study for the portrait "Margarethe Stonborough-Wittgenstein") (1904) by Gustav KlimtAlbertina Museum
For this purpose, Klimt repeatedly used a method which was characteristic for him: he fixed the centrally placed figure in the plane by having it extend beyond the upper and lower edges of the page. This self-imposed dictate of the boundaries of the sheet became the prerequisite for a free unfolding of the lines with which he tried to capture the overall appearance and therefore as many aspects of her as possible.
The studies for the portrait of Margarethe Stonborough-Wittgenstein mark a transition in terms of Klimt's development of his drawing technique. By 1904, the artist gradually changed from black chalk to pencil. At the same time, the brownish packing paper used since 1897/98 gave way to a shiny, larger type of paper imported from Japan.
Woman standing with Head Turned Slightly Left (Study for the portrait "Margarethe Stonborough-Wittgenstein") (1904) by Gustav KlimtAlbertina Museum
The black chalk and new paper produced special effects. Added to this was his new interest in the texture and surface appearance of finely patterned and transparent fabrics. The strong contrast between the intense black of the thin chalk lines and the bright tone of the paper evidently suited him.
Standing Woman with Wrap (Study for the portrait "Margarethe Stonborough-Wittgenstein") (1904) by Gustav KlimtAlbertina Museum
As in the painting, the figure also has an overall bell shape. The effect of this new type of paper was not only tested with black chalk but with other media as well, as in this study in green pencil.
Woman Standing with Arms Dangling (Study for the portrait "Margarethe Stonborough-Wittgenstein") (1904) by Gustav KlimtAlbertina Museum
In almost all of these studies, Klimt emphasizes the contrast between the light transparency of the fabrics and the strongly defined facial features which capture the spirit of the young woman's open-minded and self-confident nature.
Magda Mautner von Markhof
Woman Seated with Her Hand on Her Chin (Study for an Unrealized Portrait of Magda Mautner von Markhof) (1904-1905) by Gustav KlimtAlbertina Museum
This drawing belongs to a group of studies for a portrait of Magda Mautner von Markhof which was never executed.
The young woman who was friends with Klimt is neither majestically elevated nor anchored unshakably in the plane. This study seems to have been created in a casual atmosphere.
The ruffles of her broadly falling dress surround her in harmoniously structured layers. And the curved backrest of the chair rounds off her self-contained appearance.
The ALBERTINA Museum, Vienna
