You’ve probably seen the "Woman in Gold." It’s everywhere. That shimmering, mosaic-heavy masterpiece of Adele Bloch-Bauer is a staple of dorm room posters and high-end magnets. But there is a second one. Honestly, Portrait of Adele Bloch-Bauer II is arguably the more interesting sibling, even if it doesn't get the same Hollywood treatment.
Completed in 1912, this painting captures a different vibe entirely. Gone is the heavy, gilded armor of the "Golden Period." Instead, we see Adele standing tall, looking a bit more mature, surrounded by a riot of blocky colors and almost "oriental" motifs. It’s Klimt evolving in real-time.
While the first portrait is a relic of Byzantine-inspired luxury, the Portrait of Adele Bloch-Bauer II is a lean into the avant-garde. It’s basically Klimt saying, "I'm done with the gold leaf; let’s play with Fauvist colors."
The Woman Who Lived Twice
Adele Bloch-Bauer has a weirdly unique flex: she is the only person Gustav Klimt ever painted twice in a full-length portrait.
Think about that. Klimt was the rockstar of the Vienna Secession. Everyone wanted a piece of his time. But Adele? She was his muse, his patron, and—if you believe the decades of gossip—likely his lover. Her husband, Ferdinand Bloch-Bauer, was a sugar tycoon. He had the money to keep Klimt on speed dial, and he did.
The 1912 portrait is huge. We’re talking 75 inches tall. When you stand in front of it, Adele looms over you. She’s wearing this massive, wide-brimmed hat that looks like a halo, and her dress is a columns of white and black. It’s sophisticated.
But there’s a secret in the pose.
Adele was famously self-conscious about a slightly deformed finger on her right hand. If you look closely at both the 1907 and 1912 portraits, Klimt hides her hands or positions them in a very specific, intertwined way to mask it. Even in a masterpiece, there’s a bit of human insecurity tucked away in the brushstrokes.
The Nazi Heist and the Great Return
The history of this painting isn't just about art; it’s a legal thriller.
When the Nazis marched into Austria in 1938, they didn't just take land. They took soul. The Bloch-Bauer family fled, leaving behind a collection that would make the Louvre jealous. The Portrait of Adele Bloch-Bauer II was seized and eventually ended up in the Belvedere Gallery in Vienna.
For decades, the Austrian government acted like they owned it. They pointed to Adele’s will, where she’d mentioned wanting the paintings to go to the state gallery.
The problem? She didn't own them. Her husband Ferdinand did.
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It took Maria Altmann, Adele’s niece, nearly a decade of legal warfare to get them back. This wasn't some quiet backroom deal. It went all the way to the U.S. Supreme Court (Republic of Austria v. Altmann). In 2006, the "Adele" paintings finally left Austria for Los Angeles.
That Time Oprah Owned It
Here is a detail that surprises people: Oprah Winfrey owned this painting for about a decade.
After Maria Altmann won the paintings back, she sold them to keep her family's legacy secure and, frankly, to pay the massive legal bills. While the "Golden" Adele went to Ronald Lauder for $135 million, Oprah snagged the Portrait of Adele Bloch-Bauer II at a Christie’s auction in 2006 for $87.9 million.
She didn't just hide it in a basement, though. She lent it to MoMA in New York for years.
Then, in 2016, she quietly sold it to an unidentified Chinese buyer for $150 million. That is a massive return on investment. It also shows just how much the market for Klimt has exploded. People aren't just buying art; they’re buying a piece of a story that survived the 20th century’s darkest moments.
Why This Version Matters More Today
If you look at the 1912 portrait, you see a bridge to modernism.
The background is filled with these little scenes—figures on horseback, flowers, and abstract patterns. It looks like a dreamscape. It’s much more "modern" than the 1907 version. It feels like Klimt was looking toward the future, toward the vibrant colors of Matisse or the structure of the early expressionists.
Key differences you'll notice:
- The Palette: 1907 is all about yellow and gold. 1912 uses teals, pinks, and vibrant greens.
- The Energy: The first portrait feels frozen, like an icon in a church. The second feels like a woman standing in a room, ready to walk out of the frame.
- The Influence: You can see the "Japanese-inspired" aesthetics that were taking over European art at the time.
How to See It Now
Since the 2016 sale, the painting has returned to a private collection. It isn't always on public display like its golden sister at the Neue Galerie.
However, it occasionally pops up in major retrospectives. If you’re an art lover, you have to track its loan status. It’s one of those "bucket list" items. Seeing it in person is the only way to realize how the different textures of the oil paint catch the light.
If you want to dive deeper into this history, I highly recommend reading The Lady in Gold by Anne-Marie O'Connor. It’s the definitive account of how these paintings were stolen and recovered.
Actionable Next Steps:
- Compare the two: Pull up a high-res image of both Adele I and Adele II side-by-side. Look at her expression. She looks world-weary in the second one.
- Watch the movie: Woman in Gold starring Helen Mirren gives a dramatized but mostly accurate look at the legal battle.
- Visit the Neue Galerie: If you're in NYC, go see the 1907 portrait. Even though the 1912 version is private, standing in front of any Klimt of this scale is a life-changing experience.