Looking at the portrait of Hermine Gallia, one begins to feel an essence of a hypnotizing serenity provoked by Gallia herself. Before going further in understanding what she emits to her audience, note that Gustav Klimt was the type of artist with many admirers. During the 1900s, the recognition of Klimt was due to the rise of the international breakthrough of Art Nouveau in Vienna. With an erotic atmosphere, the movement alternated into the notion of a virulent ‘free life’. The new environment meant free love, new ideas, and lifestyle changes, which contributed to the secession in Vienna and the newly adopted artistic styles. In regards to Gustav Klimt’s art, he was known as a painter of beautiful women. Moreover, his work consisted of women displayed as mythological goddesses and heroines, and the production of commissioned portraits of nouveau riche Viennese ladies. Thus, he gained favorability of the societal women of Vienna in the community. The
There is a resemblance shared between all his women: delicacy, the impression of femme fatale as an object of desire.
Although he was favored by his community for the beauty within his portraits, there was a backlash to the positioning of the women during the moment. It was described as pornographic in the 1900s. Eroticism was the atmosphere but it was of sensuality, respect, and seductiveness, not purely on the provocation of female sexuality. Before labeling the identity of Klimt, his intention for these portraits was to merely capture the aesthetics of beauty. He followed the ideology of an artist living only for his work, yet he could not achieve full affirmation in his paintings. As an artist, he is positioned within the era's art movement and societal standards, which contributes to his choice of women and style. As his work is an advocate to his identity in the art world, he focuses on providing the audience the ability to feel and experience the artworks as a visual expression. There is a resemblance shared between all his women: delicacy, the impression of femme fatale as an object of desire. The vision was between illusion and reality, the illusion being the impressionistic style of his painting. Whereas, the reality was of the women's beauty as models.
Despite having several women around him, he was still unable to commit to one, except his supposedly platonic companion Emilie.
As for Hermine Gallia, she was the wife of a government adviser and later attained leading patron of the arts Moritz Gallia. She was one of Vienna’s societal women who possibly knew Klimt enough to comfortably be painted as vulnerable and familiar. At first glance, Klimt’s execution of Gallia using oil paint forms an atmosphere of a comforting engulfment. The insipid technique portrays her leaning towards the audience, but rather cautious and distant from any threat. There is a certain standard and etiquette women of wealth must follow, so her detachment is reasonable. The anxiousness she emits to Klimt displays her adversity in revealing her feelings, hence her clasped hands. Gallia’s defense composure is stabilized by the clasp to disguise her tenderness as an objectified woman of the societal standards. The melancholy facial expression and background
Even though Klimt painted her sensually, beautifully, and with an air of eroticism, the painting provokes a feeling of loneliness, detachment
Rozali Abou Chakra
Betty Caplan, Art from Vienna’s golden era – The Australian Jewish News, 2011
Gilles Neret, Klimt, Taschen, 1994
Susanna Partsch, Gustav Klimt, Prestel, 2012
Geoffrey Smith, Great Works of Western Art – Portrait of Hermine Gallia
- Gustav Klimt was a very private person, who rarely discussed his art. He is also
rumouredto have fathered at least 14 children with different women
- This portrait is so far the only work by Klimt to appear on Art UK
- Klimt designed the dress that the sitter wears in this portrait