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| Gustav Klimt's 1907 'Portrait of Adele Bloch Bauer I' (Public domain) |
NEW YORK — The Neue Galerie, a mid-sized museum on Fifth Avenue and East 86th Street in Manhattan, gets pretty crowded around lunch. The Café Sabarasky (named for the institution’s co-founder Serge Sabarasky, who opened the Neue in late 2001 with Ronald Lauder) is a hot draw, but the artwork lingers longer than the pastries.
On the second floor of this converted mansion, designed by legendary Gilded Age architects Carrère and Hastings and once owned by Grace Vanderbilt, there hangs the portrait of a woman who died 90 years ago. Her story is still being told.
Adele Bloch-Bauer was part of a prominent Austrian-Jewish family, patrons of the arts whose belongings were plundered by the Nazis. Among the works stolen were two portraits of Adele by Gustav Klimt, commissioned by her husband. The first – with gold leaf applied directly to the canvas – is the more famous. “A painting sold on refrigerator magnets” as Charles Dance’s character, a lawyer skeptical about restituting the work to its rightful owner, reminds us in the new movie “Woman in Gold.”
After World War II, surviving members of the Bloch-Bauer family escaped to the United States. Their artwork remained behind – the “last prisoners of war.” The case of “Portrait of Adele Bloch-Bauer I” made international headlines (and has been the subject of documentaries) but “Woman in Gold” is the first time it has been dramatized. » | Jordan Hoffman | Thursday, March 26, 2015
