In contrast to the studies for the painted portraits, this model, nestling comfortably into the armchair, conveys a sense of intimacy. This autonomous work is presented here for the first time and reveals similarities with many of Klimt’s drawings dating from around 1904–05 – in the figure’s posture, the lavish frilled dress or in the drawing style itself (cf. for example Strobl Nos. 1300, 1300a). The boldly stylized profile with closed mouth and lowered eyelid alludes to Klimt’s interest at that time in ways of capturing meditation. Within the array of different linear styles – ranging from dynamic loops to sparing, taut outlines – the face and its introverted expression act as a hub of calm. With a few bold strokes, Klimt anchored the back of the woman’s neck and head in its surroundings. And as always, the positioning of the figure within the picture space plays an important role. The armchair, rendered in just a few sparing outlines, takes over the entire width of the paper. This hefty piece of furniture placed at a slight diagonal adds a sense of space to the representation of the model. At the front left, the legs with elegant shoes dangle rather flirtatiously; the wide skirt overlaps the base of the chair while the armrest pushes like a barrier between sitter and the outside world. This pulsating, alternating advance and retreat of the layers of space is an essential characteristic of Gustav Klimt’s drawings and emerges here with particular clarity.

Marian Bisanz–Prakken

Literature: Alice Strobl: Gustav Klimt. Die Zeichnungen. 1904 – 1912. Vol. 3. Verlag Galerie Welz. Salzburg 1982, cf. p. 48 ed seq., cat. rais. no. 1300 and 1300a.