Questions About The Lady in Gold: The Extraordinary Tale of Gustav Klimt's Masterpiece, Portrait of Adele Bloch-Bauer
by
Anne-Marie O'Connor (Goodreads Author)
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Answered Questions (3)
Elizabeth
Yes, absolutely! the Neue Galerie is currently holding a special exhibition that includes this painting. But, the painting titled The Woman in Gold, i…moreYes, absolutely! the Neue Galerie is currently holding a special exhibition that includes this painting. But, the painting titled The Woman in Gold, is part of their permanent collection! Gustav Klimt and Adele Bloch-Bauer: The Woman in Gold
April 2, 2015-September 7, 2015
Note: Although the exhibition "Gustav Klimt and Adele Bloch-Bauer: The Woman in Gold" is only on view through September 7, the painting Portrait of Adele Bloch-Bauer I by Gustav Klimt is on permanent view at the Neue Galerie.
"Gustav Klimt and Adele Bloch-Bauer: The Woman in Gold" is an intimate exhibition devoted to the close relationship that existed between the artist and one of his key subjects and patrons. Included in the exhibition is a display of Adele Bloch-Bauer I, paintings, related drawings, vintage photographs, decorative arts, and archival material.
Enjoy! (less)
April 2, 2015-September 7, 2015
Note: Although the exhibition "Gustav Klimt and Adele Bloch-Bauer: The Woman in Gold" is only on view through September 7, the painting Portrait of Adele Bloch-Bauer I by Gustav Klimt is on permanent view at the Neue Galerie.
"Gustav Klimt and Adele Bloch-Bauer: The Woman in Gold" is an intimate exhibition devoted to the close relationship that existed between the artist and one of his key subjects and patrons. Included in the exhibition is a display of Adele Bloch-Bauer I, paintings, related drawings, vintage photographs, decorative arts, and archival material.
Enjoy! (less)
Anne-Marie O'Connor
Book Club Questions:
1. Why did Klimt consider the sensual world such an important place to explore in his art?
2. Why did women like Klimt so much in …moreBook Club Questions:
1. Why did Klimt consider the sensual world such an important place to explore in his art?
2. Why did women like Klimt so much in spite of his flaws?
3. How did the expectations for women of times shape the lives of of Adele and her
friends?
4. Why was Therese so determined to raise Luise and Maria as conventional young
women?
3. Why was it so hard for Maria’s family to accept what was happening in Vienna?
4. Why was it so unusual for decent people to behave decently in wartime Vienna?
5. Why were the Viennese so reluctant to tell the true story of Gustav Klimt and his remarkable models after the war?
6. Why was it so difficult for Maria’s family to come to a consensus over the fate of the
paintings?
7. Why was it so hard for contemporary Austria to come to terms with its past, and the
role played by the paintings? Book_Q&A:
The Lady in Gold focuses on Gustav Klimt, and his portrait of his beautiful young Viennese patron, Adele Bloch-Bauer, beginning with the painting’s creation, and ending with its recovery by family members who survived the Holocaust. What drew you to this story?
I stumbled upon the story by accident.
I was reading the Westside Weekly in 2001. There was a Bob Scheer column about a neighborhood woman in her 80s. Maria Altmann. The Nazis had stolen a painting of her aunt. The painting wasn’t locked away somewhere in a mysterious unknown place. It was in the national museum, with other paintings her family owned.
The column had a tiny image of the painting. It was one of the most recognizable paintings in the world. One of Gustav Klimt’s wealthy, decadent, Viennese society women. Or so I had been led to believe in art history class years ago. I thought, ‘that painting? I called 411. An older woman answered, Maria Altmann, and invited me over. She told me a very long story, about her Aunt Adele, a “woman of today living in the world of yesterday.”
According to Maria, the women in the golden painting, and some of the other women painted by Klimt, were not decadent society women. They were visionaries, dreamers, existentialists. Women who supported Freud, modern art, and modernism itself.
Adele was a very opinionated woman. A philanthropist. She smoked, and argued with other intellectuals. Adele may nor may not have had a thing with Klimt.There were other romantic entanglements involving Alma Mahler, Hedy Lamarr--in those days Hedwig Kiesler, a protege of theater impresario Max Reinhardt. The young attorney Los Angeles in the case, Randol Schoenberg, was the grandson of an avant garde Viennese composer, Arnold Schoenberg.
The story was beautiful and complex. It began in a very special time, turn-of-the- century Vienna, when the city was an incubator of new ideas of psychology, medicine, and art. This was the backdrop of Gustav Klimt’s battle for creativity and self- expression, as an artist and an individual. It was an exciting time to be alive. The women Klimt painted into history were striving to be more when their society wanted them to be less. The story was suffused with love; the love of ideas, and passionate romantic love. This world was like a glittering jewel to them.
Its loss haunted them. During World War II, Adele’s nieces fought for their lives, with courage and grit. They suffered the fates that Adele herself would have experienced, had she lived. They were remarkable women who didn’t let even the most difficult obstacles stand in their way. Their struggles taught me important lessons, about perseverance, endurance and dignity.
To tell a story as multi-faceted as this one seemed a one-in-a-lifetime opportunity. It seemed like a modern fairy tale.
Q. What kind of research did you do?
A. I began with Maria, when I met her as a Los Angeles Times reporter in 2001, sorting through the photos and letters that were stashed in the house, under the sofa, in paper folders in the garage.There was a beautifully bound self-published play, starring all of the members of the Bloch-Bauer family, written by Maria’s sister Luise. The play was very important, because it reinforced Maria’s own characterizations of each member of the family, the kinds of things they said and did, and their roles in the real-life family drama. The family had other treasures: detailed poems written for family weddings, a prayer book that was a gift from the Rothschild family, and agenda where Adele jotted down her friends names, and some of her observances. They had beautiful antique editions of the books their family loved to read. I also ransacked archives in Vienna and Washington. There were a few family letters in the manuscript section of the National Library in Vienna. The Vienna state archive had information on the knighthood and other honors Adele’s father.It was exciting to gather the letters, diaries and memoirs that were pieces of a complex historical puzzle, and get to know the amazing personalities--from Billy Wilder to Bruno Schulz--who played a role in it.
But a lot of the most valuable material--like the intimate memoir of growing up with Klimt, by Elisabeth Bachofen-Echt, or the descriptions of day-to-day life--had to be provided by people. Klimt’s grandson, Gustav Zimmerman, had Klimt’s very personal unpublished letters to Mizzi Zimmerman, the mother of two of his children. The Viennese are very private. One family’s painful wartime memoir was literally locked away in a laundry drawer. I had to explain to these families why I felt it was so important to make these private histories public.
My most urgent task was to interview Maria Altmann and a half-dozen of her childhood contemporaries. Quickly. They were all in their 80s and 90s. Fortunately, they were excellent storytellers, with a wonderful recollections of the conversations, love affairs, and dramas of life in Vienna. Maria’s sister-in-law, Thea, now 94, has a remarkable memory, and she was able to answer the most minute questions about very small details, throughout the process. These wonderful sources helped me for the five years I
worked on the book. One of Maria’s sons shared a folder of yellowing letters that were the exchange between Maria and her husband while he was in Dachau. There was a box lying around with some notes Maria had written to herself while she was under Nazi house arrest. Lovely little jottings about how much she loved her new husband. Though they were both in great danger. There were two memoirs that were more than 200 pages each. All of these sources revealed an amazing amount of detail that allowed me to reconstruct their lives.
Q. You worked as a foreign correspondent, covering Cuba and Haiti; the wars in El Salvador, Nicaragua and Guatemala, and the Shining Path guerrilla insurgency in Peru. After covering the Arellano-Felix drug cartel in Tijuana for The Los Angeles Times, you moved into writing about American politics, culture, and art, including a 2001 article for The Los Angeles Times Magazine about the attempt to recover the Portrait of Adele Bloch-Bauer by her niece, Maria Altmann. What prompted this transition?
A. I actually had written about artists for years, from Chile, Cuba, Haiti, and other places in Latin America. Artists and musicians can be very charismatic figures with tremendous credibility in societies under military government or dictatorship. The story of the portrait of Adele Bloch-Bauer brought together many of the things I had learned over the years. Lessons about how culture is created and can become a mighty force, a moral force. Lessons about how peaceful societies become destructive. Lessons about history, and its role in memory. In the end, we are all products of our culture, in a broader sense. This story was less a departure from my previous work than a melding of its disparate strands.
Q. Your book covers a lot of ground, with protagonists ranging from Gustav Klimt, Adele Bloch-Bauer and Mark Twain in turn-of-the-century Vienna; to the author of the Final Solution, Reinhard Heydrich, the Polish writer Bruno Schulz, to Kurt Waldheim and Jorg Haider in modern Austria. There are even cameos by Marlene Dietrich, Billy Wilder, and John Malkovich. How did you settle on a theme strong enough to hold the narrative together?
A. The painting held the story together. Paintings are talismanic. Art has captivated humankind since prehistoric cave paintings. This was a very well- known painting, a symbol of Vienna. Once you see this painting, you don’t forget it. But it wasn’t a symbol that was properly understood. It was ubiquitous, but its history was hidden. This book attempts to shed light on the true meaning of a work of art. Paintings are created in a time and place, in a society in which many people play a role. My characters are some of the people, public and private, who were part of the creation of this world. This painting was not just a pretty picture. This painting was about Adele, and her love of art and beauty, and the very romantic way Klimt saw her. But over time it was about a lot more than that.
Q. Some of your characters fought for their lives, or went to concentration camps, and not all of them survived. Why did you feel it was important to detail their fates?
A. This story is about the creation of a culture. But is also about the destruction of culture. It is important to understand what that means. Some of these people were brave beyond belief. It cost them something to survive, but they went to have rich lives, to become distinguished pioneers in their fields. It is important to understand the wonderful resilience of the human spirit.
Q. Little was known about the histories of the Klimt portraits when this case began. How is his legacy viewed in his homeland, and how has that changed?
A. Before this case he was a highly reproduced artist who was considered almost too decorative to be one of the great painters. Now he is known as a complex figure who was a much more interesting player in turn-of-the century Vienna than anyone ever suspected. And his portrait subjects, like Adele, are now known as complex women of their times--not just wealthy society women.
Q. During your travels to Vienna you had the opportunity to get to know many of the players in the legal case, as well as the descendants of protagonists like Klimt. Why did you decide to immerse yourself in modern-day Vienna?
A. I felt that I couldn’t gain an understanding of this story without immersing myself into the world of the characters, understand the role their families played in this history, and how that shaped their own views of the contemporary issues it produced.
Q. What were some of the remarkable experiences you had while reporting this book?
A. It was astonishing to watch this case move from the kitchen of Maria Altmann to the
attention of the entire world. It was a revelation to meet Klimt’s grandson, and hear his grandmother’s stories of life with Klimt. It was fascinating to meet Maria’s old friend in Vienna and hear how he survived the war as a protege of the first Nazi scientist secretly airlifted to the United States after the war. It was bizarre to have a Nazi hunter “discover” a Nazi war criminal living near my Vienna apartment, and see that the former concentration camp guard was listed in the telephone directoryy--and authorities declined to prosecute her, in spite of witnesses who testified to her brutality. She died of old age a few years later. It was fascinating to watch Austria come to terms with its “burden of history,” with each new disputed painting. It was like traveling back in time to stay at the Lake Attersee fantasy castle, the Villa Paulick, that still has the same furnishings it did when Klimt spent summers there with his girlfriend, Emilie Floge. It was a privilege to enter the beautiful private worlds of Vienna, the elegant museum-like homes, with portraits cradled in elaborate gilt frames and antique swords in holders encrusted with jewels. It is a fairy tale city,
justifiably considered one of the most beautiful in the world. This is a city that loves its art.
Q. You weigh the cost of the loss of Klimt’s paintings to Austrian patrimony against the benefits of making Austria aware of its history and atoning for its past. Did you see a beneficial side to these restitutions?
A. It is sad that many of these paintings are no longer on public view. But there was a tremendous moral gain. These stolen paintings were hanging on the walls of major Austrian museums, and people were whispering about them. It was better for the truth to come out. Before restitution these stories were hidden, or mentioned in a few academic books familiar to a handful of people. With restitution, these beautiful, tragic histories are being told. This period of history is better understood. Twenty percent of the art in Europe was stolen by the Nazis, and this was the the tens of thousands of works that have not yet been returned.
The painting of Adele Bloch-Bauer did not belong to Austria. Even the Austrians agree on that. Polls at the time showed that a majority supported the restitution. Austrian museums have returned a dozen Klimt paintings in the past decade. Stolen property on the walls of art museums is not a symbol of patrimony to be proud of. History is also culture property.
This was a painting that was the product of the culture that created the amazing flowering of turn-of-the-century Vienna. That supported Klimt, Mahler, modernism, and advances in medicine and psychoanalysis. The milieu that created it was driven out of Austria. Billy Wilder and other creators fled and enriched American culture. It is still on public view, at the the Neue Galerie in New York, a museum that celebrates this lost world.
Restitution has deepened our understanding of Klimt.
This was a story about people, and the intriguing personalities behind Klimt’s art, many of them his female patrons. It is because of restitution that we know about these women.
I lament that these works are not on public view.
But art is sold every night in New York auction houses, that would also be wonderful to see on public display.
I think the lesson that has been learned is also of incalculable valuable.
Maybe curators can organize a show of the dozen Klimt paintings returned by Austrian museums in the past decade. And tell the stories of the families who collected them--and the women who helped Klimt become the artist he was.
Q. What did you learn from this story?
A. I learned that people who believe in themselves, and believe in each other, can be impossible to defeat. No matter the odds.
(less)
1. Why did Klimt consider the sensual world such an important place to explore in his art?
2. Why did women like Klimt so much in …moreBook Club Questions:
1. Why did Klimt consider the sensual world such an important place to explore in his art?
2. Why did women like Klimt so much in spite of his flaws?
3. How did the expectations for women of times shape the lives of of Adele and her
friends?
4. Why was Therese so determined to raise Luise and Maria as conventional young
women?
3. Why was it so hard for Maria’s family to accept what was happening in Vienna?
4. Why was it so unusual for decent people to behave decently in wartime Vienna?
5. Why were the Viennese so reluctant to tell the true story of Gustav Klimt and his remarkable models after the war?
6. Why was it so difficult for Maria’s family to come to a consensus over the fate of the
paintings?
7. Why was it so hard for contemporary Austria to come to terms with its past, and the
role played by the paintings? Book_Q&A:
The Lady in Gold focuses on Gustav Klimt, and his portrait of his beautiful young Viennese patron, Adele Bloch-Bauer, beginning with the painting’s creation, and ending with its recovery by family members who survived the Holocaust. What drew you to this story?
I stumbled upon the story by accident.
I was reading the Westside Weekly in 2001. There was a Bob Scheer column about a neighborhood woman in her 80s. Maria Altmann. The Nazis had stolen a painting of her aunt. The painting wasn’t locked away somewhere in a mysterious unknown place. It was in the national museum, with other paintings her family owned.
The column had a tiny image of the painting. It was one of the most recognizable paintings in the world. One of Gustav Klimt’s wealthy, decadent, Viennese society women. Or so I had been led to believe in art history class years ago. I thought, ‘that painting? I called 411. An older woman answered, Maria Altmann, and invited me over. She told me a very long story, about her Aunt Adele, a “woman of today living in the world of yesterday.”
According to Maria, the women in the golden painting, and some of the other women painted by Klimt, were not decadent society women. They were visionaries, dreamers, existentialists. Women who supported Freud, modern art, and modernism itself.
Adele was a very opinionated woman. A philanthropist. She smoked, and argued with other intellectuals. Adele may nor may not have had a thing with Klimt.There were other romantic entanglements involving Alma Mahler, Hedy Lamarr--in those days Hedwig Kiesler, a protege of theater impresario Max Reinhardt. The young attorney Los Angeles in the case, Randol Schoenberg, was the grandson of an avant garde Viennese composer, Arnold Schoenberg.
The story was beautiful and complex. It began in a very special time, turn-of-the- century Vienna, when the city was an incubator of new ideas of psychology, medicine, and art. This was the backdrop of Gustav Klimt’s battle for creativity and self- expression, as an artist and an individual. It was an exciting time to be alive. The women Klimt painted into history were striving to be more when their society wanted them to be less. The story was suffused with love; the love of ideas, and passionate romantic love. This world was like a glittering jewel to them.
Its loss haunted them. During World War II, Adele’s nieces fought for their lives, with courage and grit. They suffered the fates that Adele herself would have experienced, had she lived. They were remarkable women who didn’t let even the most difficult obstacles stand in their way. Their struggles taught me important lessons, about perseverance, endurance and dignity.
To tell a story as multi-faceted as this one seemed a one-in-a-lifetime opportunity. It seemed like a modern fairy tale.
Q. What kind of research did you do?
A. I began with Maria, when I met her as a Los Angeles Times reporter in 2001, sorting through the photos and letters that were stashed in the house, under the sofa, in paper folders in the garage.There was a beautifully bound self-published play, starring all of the members of the Bloch-Bauer family, written by Maria’s sister Luise. The play was very important, because it reinforced Maria’s own characterizations of each member of the family, the kinds of things they said and did, and their roles in the real-life family drama. The family had other treasures: detailed poems written for family weddings, a prayer book that was a gift from the Rothschild family, and agenda where Adele jotted down her friends names, and some of her observances. They had beautiful antique editions of the books their family loved to read. I also ransacked archives in Vienna and Washington. There were a few family letters in the manuscript section of the National Library in Vienna. The Vienna state archive had information on the knighthood and other honors Adele’s father.It was exciting to gather the letters, diaries and memoirs that were pieces of a complex historical puzzle, and get to know the amazing personalities--from Billy Wilder to Bruno Schulz--who played a role in it.
But a lot of the most valuable material--like the intimate memoir of growing up with Klimt, by Elisabeth Bachofen-Echt, or the descriptions of day-to-day life--had to be provided by people. Klimt’s grandson, Gustav Zimmerman, had Klimt’s very personal unpublished letters to Mizzi Zimmerman, the mother of two of his children. The Viennese are very private. One family’s painful wartime memoir was literally locked away in a laundry drawer. I had to explain to these families why I felt it was so important to make these private histories public.
My most urgent task was to interview Maria Altmann and a half-dozen of her childhood contemporaries. Quickly. They were all in their 80s and 90s. Fortunately, they were excellent storytellers, with a wonderful recollections of the conversations, love affairs, and dramas of life in Vienna. Maria’s sister-in-law, Thea, now 94, has a remarkable memory, and she was able to answer the most minute questions about very small details, throughout the process. These wonderful sources helped me for the five years I
worked on the book. One of Maria’s sons shared a folder of yellowing letters that were the exchange between Maria and her husband while he was in Dachau. There was a box lying around with some notes Maria had written to herself while she was under Nazi house arrest. Lovely little jottings about how much she loved her new husband. Though they were both in great danger. There were two memoirs that were more than 200 pages each. All of these sources revealed an amazing amount of detail that allowed me to reconstruct their lives.
Q. You worked as a foreign correspondent, covering Cuba and Haiti; the wars in El Salvador, Nicaragua and Guatemala, and the Shining Path guerrilla insurgency in Peru. After covering the Arellano-Felix drug cartel in Tijuana for The Los Angeles Times, you moved into writing about American politics, culture, and art, including a 2001 article for The Los Angeles Times Magazine about the attempt to recover the Portrait of Adele Bloch-Bauer by her niece, Maria Altmann. What prompted this transition?
A. I actually had written about artists for years, from Chile, Cuba, Haiti, and other places in Latin America. Artists and musicians can be very charismatic figures with tremendous credibility in societies under military government or dictatorship. The story of the portrait of Adele Bloch-Bauer brought together many of the things I had learned over the years. Lessons about how culture is created and can become a mighty force, a moral force. Lessons about how peaceful societies become destructive. Lessons about history, and its role in memory. In the end, we are all products of our culture, in a broader sense. This story was less a departure from my previous work than a melding of its disparate strands.
Q. Your book covers a lot of ground, with protagonists ranging from Gustav Klimt, Adele Bloch-Bauer and Mark Twain in turn-of-the-century Vienna; to the author of the Final Solution, Reinhard Heydrich, the Polish writer Bruno Schulz, to Kurt Waldheim and Jorg Haider in modern Austria. There are even cameos by Marlene Dietrich, Billy Wilder, and John Malkovich. How did you settle on a theme strong enough to hold the narrative together?
A. The painting held the story together. Paintings are talismanic. Art has captivated humankind since prehistoric cave paintings. This was a very well- known painting, a symbol of Vienna. Once you see this painting, you don’t forget it. But it wasn’t a symbol that was properly understood. It was ubiquitous, but its history was hidden. This book attempts to shed light on the true meaning of a work of art. Paintings are created in a time and place, in a society in which many people play a role. My characters are some of the people, public and private, who were part of the creation of this world. This painting was not just a pretty picture. This painting was about Adele, and her love of art and beauty, and the very romantic way Klimt saw her. But over time it was about a lot more than that.
Q. Some of your characters fought for their lives, or went to concentration camps, and not all of them survived. Why did you feel it was important to detail their fates?
A. This story is about the creation of a culture. But is also about the destruction of culture. It is important to understand what that means. Some of these people were brave beyond belief. It cost them something to survive, but they went to have rich lives, to become distinguished pioneers in their fields. It is important to understand the wonderful resilience of the human spirit.
Q. Little was known about the histories of the Klimt portraits when this case began. How is his legacy viewed in his homeland, and how has that changed?
A. Before this case he was a highly reproduced artist who was considered almost too decorative to be one of the great painters. Now he is known as a complex figure who was a much more interesting player in turn-of-the century Vienna than anyone ever suspected. And his portrait subjects, like Adele, are now known as complex women of their times--not just wealthy society women.
Q. During your travels to Vienna you had the opportunity to get to know many of the players in the legal case, as well as the descendants of protagonists like Klimt. Why did you decide to immerse yourself in modern-day Vienna?
A. I felt that I couldn’t gain an understanding of this story without immersing myself into the world of the characters, understand the role their families played in this history, and how that shaped their own views of the contemporary issues it produced.
Q. What were some of the remarkable experiences you had while reporting this book?
A. It was astonishing to watch this case move from the kitchen of Maria Altmann to the
attention of the entire world. It was a revelation to meet Klimt’s grandson, and hear his grandmother’s stories of life with Klimt. It was fascinating to meet Maria’s old friend in Vienna and hear how he survived the war as a protege of the first Nazi scientist secretly airlifted to the United States after the war. It was bizarre to have a Nazi hunter “discover” a Nazi war criminal living near my Vienna apartment, and see that the former concentration camp guard was listed in the telephone directoryy--and authorities declined to prosecute her, in spite of witnesses who testified to her brutality. She died of old age a few years later. It was fascinating to watch Austria come to terms with its “burden of history,” with each new disputed painting. It was like traveling back in time to stay at the Lake Attersee fantasy castle, the Villa Paulick, that still has the same furnishings it did when Klimt spent summers there with his girlfriend, Emilie Floge. It was a privilege to enter the beautiful private worlds of Vienna, the elegant museum-like homes, with portraits cradled in elaborate gilt frames and antique swords in holders encrusted with jewels. It is a fairy tale city,
justifiably considered one of the most beautiful in the world. This is a city that loves its art.
Q. You weigh the cost of the loss of Klimt’s paintings to Austrian patrimony against the benefits of making Austria aware of its history and atoning for its past. Did you see a beneficial side to these restitutions?
A. It is sad that many of these paintings are no longer on public view. But there was a tremendous moral gain. These stolen paintings were hanging on the walls of major Austrian museums, and people were whispering about them. It was better for the truth to come out. Before restitution these stories were hidden, or mentioned in a few academic books familiar to a handful of people. With restitution, these beautiful, tragic histories are being told. This period of history is better understood. Twenty percent of the art in Europe was stolen by the Nazis, and this was the the tens of thousands of works that have not yet been returned.
The painting of Adele Bloch-Bauer did not belong to Austria. Even the Austrians agree on that. Polls at the time showed that a majority supported the restitution. Austrian museums have returned a dozen Klimt paintings in the past decade. Stolen property on the walls of art museums is not a symbol of patrimony to be proud of. History is also culture property.
This was a painting that was the product of the culture that created the amazing flowering of turn-of-the-century Vienna. That supported Klimt, Mahler, modernism, and advances in medicine and psychoanalysis. The milieu that created it was driven out of Austria. Billy Wilder and other creators fled and enriched American culture. It is still on public view, at the the Neue Galerie in New York, a museum that celebrates this lost world.
Restitution has deepened our understanding of Klimt.
This was a story about people, and the intriguing personalities behind Klimt’s art, many of them his female patrons. It is because of restitution that we know about these women.
I lament that these works are not on public view.
But art is sold every night in New York auction houses, that would also be wonderful to see on public display.
I think the lesson that has been learned is also of incalculable valuable.
Maybe curators can organize a show of the dozen Klimt paintings returned by Austrian museums in the past decade. And tell the stories of the families who collected them--and the women who helped Klimt become the artist he was.
Q. What did you learn from this story?
A. I learned that people who believe in themselves, and believe in each other, can be impossible to defeat. No matter the odds.
(less)
olivia marion
Struwwelpeter! https://en.wikipedia.org/wiki/Struwwe...
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