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.
All art is erotic. ” – Gustav Klimt
All three paintings were destroyed when retreating German forces burned Schloss Immendorf in May 1945.  
Klimt travelled little, but trips to Venice and Ravenna, both famous for their beautiful mosaics, most likely inspired his gold technique and his Byzantine imagery. In 1904, he collaborated with other artists on the lavish Palais Stoclet, the home of a wealthy Belgian industrialist that was one of the grandest monuments of the Art Nouveau age. Klimt’s contributions to the dining room, including both Fulfillment and Expectation, were some of his finest decorative works, and as he publicly stated, “probably the ultimate stage of my development of ornament.” 
Though the Secessionists were known as a group that attempted to break with artistic traditions, their relationship with the past was more complex than a simple forward-looking mentality. Klimt, along with many of his fellow painters and graphic artists, cultivated a keen understanding of the symbolic nature of mythical and allegorical figures and narratives from Greece, Rome, and other ancient civilizations. With his soft colors and uncertain boundaries between elements, Klimt begins the dissolution of the figural in the direction of abstraction, that would come to full force in the years after he left the Secession. This painting exudes thus a sensory conception of the imperial, powerful presence of the Greco-Roman goddess of wisdom, Athena, and the inability of humans to full grasp that, rather than a crisp, detailed visual summation of her persona.
The haziness evokes the contemporaneous exploration of dreams by Sigmund Freud, whose seminal work on the subject would be published in Vienna just two years later. It is tempting to read Klimt’s painting in the context of Freud’s view of dreams as the fulfillment of wishes, which might suggest that the powerful, imperious woman is the object of male desire, but also potentially that the traditional feminine persona must be costumed in order to attain such powerful status.
Klimt’s work proves difficult to decipher, and it appears that one of his goals with the painting was to show the ambiguity of human life, simultaneously representing the themes of birth and death. In some ways, it proves highly ironic, as Vienna at the time was one of the major centers of medical research: along with Sigmund Freud, who had just published The Interpretation of Dreams (1899), it was home to the pioneering abdominal surgeon Theodor Billroth. In this respect, Medicine demonstrates how, despite the great inroads the Secession had made in the four years since its founding, the movement had not decisively overturned conservative attitudes towards modern art in Vienna. For Klimt, the entire affair represented an ultimate public humiliation and rejection; he did not exhibit in Vienna for five years after 1903, and he swore off official commissions and withdrew to take on only private portrait commissions or landscapes for the remainder of his career. His trio of University paintings, born into a firestorm of controversy, met their own fiery fate as they found their way into the collections of Jews and became three of Klimt’s many works confiscated by the Nazis. They were incinerated in May 1945 inside the Schloss Immendorf, the lower Austrian castle where they had been stored, by retreating SS troops.
The painting is principally concerned with the dissolution of the real into pure abstract form. Though Klimt depicts Bloch-Bauer as seated, it is nearly impossible to discern the form of the chair or to separate the forms of her clothing from the background. Klimt was largely unconcerned at this time with depicting his sitter’s character, and even less so with providing location and context, omissions that were common in all of Klimt’s earlier portraits. Klimt’s biographer, Frank Whitford, has described the picture as “the most elaborate example of the tyranny of the decorative” in the artist’s work. The use of gold and silver leaf underscores the precious nature of the jewels Bloch-Bauer is wearing, as well as the depths of the love for her felt by Ferdinand, who commissioned the painting. It places the work squarely within Klimt’s “Golden Phase” from the first decade of the 20 th century, wherein he used dozens of gold patterns and shades of the metal in his paintings to create these glittering effects. Not surprisingly, when the Osterreichische Galerie Belvedere received the painting, it was retitled The Lady in Gold, the name by which it is still sometimes known today.
Gustav Klimt was an Austrian symbolist painter, whose primary subject was the female body. His paintings, murals, and sketches are marked by a sensual eroticism, which is especially apparent in his pencil drawings. Klimt attended the Vienna University of Arts and Crafts in 1876, and formed the “Company of Artists” with his two brothers and a friend, after which he was awarded the Golden Order of Merit from the Emperor of Vienna. In 1892, his father and one of his brothers died, leaving him responsible for their families. The family tragedy also affected his artistic vision, which helped him develop his own personal style.
Gustav Klimt (July 14, 1862 – February 6, 1918) was an Austrian symbolist painter and one of the most prominent members of the Vienna Secession movement. Klimt is noted for his paintings, murals, sketches, and other objets d’art. Klimt’s primary subject was the female body, and his works are marked by a frank eroticism. In addition to his figurative works, which include allegories and portraits, he painted landscapes. Among the artists of the Vienna Secession, Klimt was the most influenced by Japanese art and its methods.