His Nuda Veritas (1899) defined his bid to further “shake up” the establishment.  The starkly naked red-headed woman holds the mirror of truth, while above her is a quotation by Friedrich Schiller in stylized lettering: “If you cannot please everyone with your deeds and your art, please only a few. To please many is bad.” 
The painting Litzlberg am Attersee was auctioned for $40.4 million November 2011. 
Although Gustav Klimt and his former partner had a falling out, in 1900, the first exhibit which he created for the University of Vienna, was laid out for public display. It was presented at the Paris World Fair, and he won the Grand Prix award for this piece. He continues the work in the university through 1901, even though it is met with criticism by many locals in Vienna.
In 1911, Gustav Klimt travels to Florence and Rome, and creates several pieces. Death and Life, The Maiden, and The Bride are among the landscape pieces that he creates during the next few years. Outside of Vienna, these pieces were a bit more widely accepted, namely due to the different art forms in regions outside of his home city. Although his work was still graphic in nature, and took a non traditional approach to depicting landscape, and the human figure, much of the work which he created only a few years prior to his death, were more widely accepted outside of Vienna.
Gustav Klimt, (born July 14, 1862, Vienna, Austria—died February 6, 1918, Vienna), Austrian painter, founder of the school of painting known as the Vienna Sezession.
In 1897 Klimt’s mature style emerged, and he founded the Vienna Sezession, a group of painters who revolted against academic art in favour of a highly decorative style similar to Art Nouveau. Soon thereafter he painted three allegorical murals for the ceiling of the University of Vienna auditorium that were violently criticized; the erotic symbolism and pessimism of these works created such a scandal that the murals were rejected. His later murals, the Beethoven Frieze (1902) and the murals (1909–11) in the dining room of the Stoclet House in Brussels, are characterized by precisely linear drawing and the bold and arbitrary use of flat, decorative patterns of colour and gold leaf. Klimt’s most successful works include The Kiss (1908–09) and a series of portraits of fashionable Viennese matrons, such as Fritza Riedler (1906) and Adele Bloch-Bauer I (1907). In these works he treats the human figure without shadow and heightens the lush sensuality of skin by surrounding it with areas of flat, highly ornamental, brilliantly composed areas of decoration.
Adele died in 1925. As the Bloch-Bauers were Jewish, Ferdinand’s assets became targets of Nazi plunder after the annexations of Austria and western Czechoslovakia in 1938, and Ferdinand ultimately fled to Switzerland. The Nazis installed the painting in the Austrian Galerie Belvedere, which renamed it and eventually took the position that no art theft had taken place. Ferdinand died in 1946, but not before willing his confiscated paintings (including Bloch-Bauer I and five other Klimt works) to his nephew and two nieces. These included Maria Altmann, who in 2000 filed a lawsuit to recover the paintings. The high-profile case, which came before the United States Supreme Court, was ultimately successful and the paintings were returned to the Bloch-Bauer family in 2006. That June Altmann sold Bloch-Bauer I to American collector and cosmetics magnate Ronald S. Lauder for $135 million, at the time a record price paid for any painting. Lauder gave Bloch-Bauer I to the Neue Galerie for German and Austrian art in New York, which he founded, where it hangs on permanent display today. It remains probably the most famous example of Nazi art theft, having been the subject of numerous articles, books, and films.
The frieze’s narrative tracks the narrative of three female figures, called Genii, that represent humanity seeking fulfillment. They rely on a gigantic knight in shining armor – said to be representative of a great leader for the German-speaking countries of Europe – to lead them through a harrowing minefield of characters whose elongated and exaggerated forms at once reference the Gorgons like Medusa from Greek mythology and represent disaster and vices such as sickness, madness, death, intemperance, and wantonness. Fulfillment does come at the end, represented by a pair of nude female and male figures locked in an almost erotic embrace in a golden aura, surrounded by a choir, a reference to the choral performance of Schiller’s poem “Ode to Joy” at the end of the Ninth Symphony.
Proudly acclaiming, вЂќThere is no self-portrait of me,вЂќ Klimt found his means of expression not in projecting his own image, but in the erotic power of his sensual nudes, his femme fatales. He was, he said, more interested in вЂњpainting.. other people, above all women.вЂќ
This was an important commission for Klimt’s early career: the Vienna city council asked Klimt and his partner Franz Matsch to paint images of the old Burgtheater, the city’s opera house – built in 1741 and slated for demolition after its replacement was finished in 1888 – as a record of the theater’s existence. Unlike Matsch’s counterpart to this picture, which shows the stage of the Burgtheater from a seat in the auditorium, Klimt’s treatment does the exact opposite – a strange choice, but one that is quite significant architecturally, as it shows the full arrangements of loges and auditorium floor seats along with the ceiling decoration. It is typical of the academic style of Klimt’s early work, and of the influence on him of Hans Makart.