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Student Artwork Guide

Study for

Gustav Klimt, 1906

Name Class Date
Gustav Klimt, Study for (1906), National Gallery of Canada. Public domain. See this canvas under a moving light: the drawing, the true colour under the varnish, the bare pigment

The facts

Artist
Gustav Klimt wahooart.com/en/artists/gustav-klimt/
Artist’s dates
1862 – 1918
Painted
1906
Medium
Acrylic On Canvas
Original size
44 x 31 cm
Movement
Art Nouveau Flowing, plant-like curves running through everything from paintings to lamps and doorways.
Held at
National Gallery of Canada wahooart.com/en/museums/national-gallery-of-canada-ottawa/
Influences
Gold leaf
Notable elements
Clock, couch, chair
Style
Decorative Art
Subject
Woman in bed

Copyright This work is in the public domain. Gustav Klimt died in 1918; copyright lasts 70 years after the artist’s death, so it ended in 1988.

Source: WahooArt.com — accessed Sept. 30, 2026

Study for — Gustav Klimt Part 1 · The artwork

In context

Study for — Gustav Klimt

How big is it?

The original measures 44 × 31 cm (height × width), drawn here beside an adult of average height.

When was this painted?

  1. 1860
  2. 1870
  3. 1880
  4. 1890
  5. 1900
  6. 1910

Row above: the years. Row below: how old the artist was at the start and at the end of each span — 0 at birth, 56 at death.

Painted when the artist was 44. The artist lived to 56. 234 of the 434 dated works by this artist in our catalogue came earlier.

Shaded: the lifetime of Gustav Klimt (1862–1918) ▲ this work, 1906 every dated painting, decade by decade

First works: up to 1899 Main working years: 1899–1911 Late works: from 1911

Those three bands split the works this catalogue has a date for into a first quarter, a middle half and a last quarter. They are not the artist’s complete output: a thin stretch may be a gap in the record rather than a quiet spell. The same years with the artist’s life laid along them

Compare with

Pick one work above: name two things it shares with this one, and one thing that's different.

More works to set beside this one: wahooart.com/en/art/similar/gustav-klimt-study-for-D4JDT4-en/

Colours

Measured from the image

    Main colour

    Driftwood #9a7b4f

    Catalogued palette

    • #9A7B4F
    • #C9AB7F
    • #AE8E5C
    • #BA9966

    These colours inside the artist’s whole palette Find other paintings by colour

    Palette
    Earthy The dominant colour family in the image.
    Main colour name
    Driftwood
    Intensity
    Vivid How saturated and varied the colours are, from a single toned-down hue to many bright ones.
    Contrast
    Serene How much the colours differ in lightness and saturation across the picture.
    Harmony
    Unified Palette How well the colours work together, from clashing to fully unified.
    Brightness
    Brilliant How light or dark the picture reads overall, from deep shadow to bright highlight.
    Saturation
    Clear Color Presence How pure and strong the colours are, from near-grey to fully vivid.

    Where in the world is this painting looked at?

    • under 1%
    • 1–3%
    • 3–8%
    • 8–20%
    • 20% and over
    This painting alone has too few recorded visitors to map, so the plate reads every work by Gustav Klimt over the last twelve months — 96 countries in all. Where these figures come from

    The ten leading countries

    1. 1 China 27.3%
    2. 2 Italy 14.6%
    3. 3 Spain 5.4%
    4. 4 Russia 5.2%
    5. 5 France 4.2%
    6. 6 United States of America 4.1%
    7. 7 Hong Kong 3.4%
    8. 8 Singapore 3.2%
    9. 9 Brazil 2.6%
    10. 10 Greece 2.5%
    11. · 86 other countries 27.5%

    Find the three darkest countries on the map. Is the museum that keeps this painting in any of them? Write down one reason people far away might look at it.

    The 20 most looked-at works by Gustav Klimt

    1. 1 The kiss 17.7%
    2. 2 The Tree of Life, 1909 8.2%
    3. 3 Portrait of Adele Bloch-Bauer I, 1907 4.6%
    4. 4 Judith, 1901 2.5%
    5. 5 Danae, 1908 2.2%
    6. 6 Allegory of 'Sculpture', 1889 1.9%
    7. 7 Water Serpents II (Bewegtes Wasser sfondo) 1.8%
    8. 8 Bildnis Fritza Riedler, 1906 - Österreichische Galerie, Vienna 1.8%
    9. 9 Beethoven Frieze; The Arts, Choir of Angels, Embracing Couple 1.6%
    10. 10 Hope II, 1908 1.6%
    11. 11 Poppy Field, 1907 1.5%
    12. 12 Farm Garden with Crucifix, 1911 1.5%
    13. 13 Naked Girl Standing, with Right Hand to Breast, 1906 1.2%
    14. 14 Death and Life, 1908 1.1%
    15. 15 Music I, 1895 1.1%
    16. 16 Ode To Klimt 1.1%
    17. 17 The Tree of Life, Stoclet Frieze, 1909 1.1%
    18. 18 Birch Forest, 1903 - Vienna, Osterreichische Museum für Angewandte Kunst, 1903 1.0%
    19. 19 38.La vírgen, 1913 1.0%
    20. 547 Study for, 1906 this painting 0.0%

    Together these works take 54.5% of all the attention this artist's paintings received over the last twelve months. The catalogue holds 724 works by this artist, of which 624 were looked at at least once. This painting ranks 547 of them, with 0.0% of that attention. The same counts, month by month

    Bars measure attention, not quality. Pick the work at the top and this one: name one thing that might make a painting famous beyond how well it is painted.

    Source: WahooArt.com — accessed Sept. 30, 2026

    Study for — Gustav Klimt Part 2 · In context

    About this artwork

    Study for — Gustav Klimt

    A Moment of Quiet Contemplation: Klimt’s Intimate Study

    This exquisite study, executed in 1906 by the Austrian Symbolist painter Gustav Klimt, offers a rare glimpse into the artist's process and a poignant meditation on domesticity and introspection. The drawing captures a woman seated comfortably in bed, her posture relaxed yet alert, a book resting gently upon her lap. The scene is deceptively simple, yet brimming with subtle details that speak volumes about Klimt’s evolving artistic vision and his fascination with the human psyche. It's not merely a portrait; it’s a carefully constructed tableau designed to evoke a specific mood – one of quiet contemplation, perhaps even melancholy.

    Subject Matter: The central figure embodies a sense of private intimacy, removed from the bustling world outside. Her attire, though understated, hints at a certain elegance and suggests a life lived within comfortable means.

    Composition: Klimt’s masterful use of space draws our eye to the woman as the focal point, while the surrounding furniture – a chair, couches, and a clock – subtly frame her and establish a domestic setting. The placement of these elements creates a sense of depth and anchors the scene within a recognizable, yet idealized, interior.

    Preliminary Sketch: As a study, this piece reveals Klimt’s initial explorations before committing to the larger, more elaborate works that would define his mature style. Notice the loose lines and expressive shading – evidence of the artist wrestling with form and capturing the essence of his subject.

    The Language of Gold: Style and Technique

    Klimt’s artistic journey was marked by a constant experimentation, culminating in his signature style that blended Symbolism, Art Nouveau, and elements of Byzantine art. This study demonstrates a crucial transitional phase. While still rooted in the realism of his earlier works, we begin to see the seeds of the opulent ornamentation and decorative patterns that would characterize his later masterpieces, particularly “The Kiss.” The use of charcoal is deliberate; it provides a foundation for layering and building up tonal values, allowing Klimt to capture both the softness of the woman’s skin and the texture of the fabrics. Crucially, this piece foreshadows the incorporation of gold leaf – a technique he would fully embrace in his final paintings—though its presence here is subtle, hinting at the richness that was to come.

    Technique Notes:

    Charcoal Rendering: Klimt’s skillful use of charcoal creates a remarkable sense of depth and volume.

    Loose Lines: The loose, expressive lines reflect the artist's intuitive approach to capturing the subject's mood and personality.

    Preliminary Study: This piece serves as a vital document in understanding Klimt’s creative development.

    Symbolism and Context – A Window into Klimt’s World

    To understand this study fully, we must consider the broader context of Klimt's life and artistic concerns during this period. Vienna at the turn of the century was a city undergoing rapid social and cultural change—a vibrant hub of art, music, and intellectual discourse. Klimt, like many artists of his generation, was deeply engaged with these developments, exploring themes of sexuality, mortality, and the search for meaning in a rapidly modernizing world. The woman in this drawing could be interpreted as representing the ideal of feminine beauty – a figure both vulnerable and strong, caught in a moment of quiet reflection. The clock, a recurring motif in Klimt’s work, often symbolizes the passage of time and the inevitability of death. It serves as a subtle reminder of life's fleeting nature.

    Historical Context:

    Fin de Siècle Vienna: The artwork reflects the artistic and intellectual ferment of Vienna at the turn of the century.

    Symbolism & Modernity: Klimt’s work engages with themes of beauty, mortality, and the complexities of modern life.

    Emotional Resonance – A Portrait of Inner Life

    Despite its seemingly simple subject matter, this study possesses a remarkable emotional depth. The woman's gaze is averted, suggesting a private world of thoughts and feelings. The arrangement of the room—the comfortable furniture, the book in her lap—creates an atmosphere of intimacy and tranquility. Klimt masterfully captures not just a physical likeness but also a sense of inner life – a quiet moment of contemplation that invites the viewer to share in the woman’s solitude. This reproduction offers a unique opportunity to connect with one of Klimt's most intimate and revealing works, bringing a touch of timeless beauty and profound introspection into your home or studio.

    Source: WahooArt.com — accessed Sept. 30, 2026

    Study for — Gustav Klimt Part 3 · About this artwork

    Artist and museum

    Artist

    Gustav Klimt

    Born in Baumgarten, Austria

    A Life Forged in Gold and Shadow

    Born on July 14, 1862, in Baumgarten, near Vienna, Gustav Klimt entered a world where the boundaries of art and craft were intimately linked. His father, Ernst Klimt, worked as a gold engraver, a profession that left an indelible mark on his son’s visual language. The young Gustav learned to appreciate the weight of precious metals and the precision of fine detail long before he ever held a brush. This early exposure to the luster of gold leaf would later define his most famous period. Despite the financial hardships that forced his family through frequent moves within Vienna, his talent was undeniable. By 1876, he had entered the Vienna Kunstgewerbeschule, focusing on architectural painting under Ferdinand Laufberger.

    His early professional years were marked by a steady, academic success. Alongside his brother Ernst and Franz von Matsch, Klimt formed a partnership that secured essential commissions for decorative murals and ceilings. These works required a disciplined hand and an eye for large-scale ornamentation. He found himself working on significant projects, such as the staircases of the Burgtheater in Vienna, earning the Gold Cross of Merit from Emperor Franz Joseph I. During this time, he looked toward the historical styles of Hans Makart, yet a restless energy was already beginning to stir beneath his formal training.

    The Rebellion of the Secession

    By the late 1890s, the constraints of the Viennese academic establishment had become stifling. Klimt sought a space where innovation could exist outside the rigid dictates of tradition. In 1897, he became the first president of the Vienna Secession, a movement designed to embrace new currents like Art Nouveau, Symbolism, and Japonism. This was an era of profound change, and Klimt stood at its center. He rejected the heavy, historical academicism in favor of organic lines and symbolic depth. His work began to explore the complexities of human intimacy, sexuality, and mortality with a frankness that often unsettled the conservative public.

    This period of defiance brought both significant friction and profound creative growth. A notable instance occurred around 1900, when his commissions for the University of Vienna ceiling paintings—specifically Philosophy—were criticized as being too provocative. The backlash was severe enough that Klimt eventually withdrew from further public commissions, choosing instead to focus on private patronage. This shift allowed him to refine a more personal, decorative style. He drew heavily from the flattened perspectives and patterned aesthetics of Japanese art, integrating these elements into compositions that blurred the distinction between fine painting and ornamental design.

    The Golden Era and Final Transitions

    Around 1900, Klimt entered his most recognizable phase, often called his golden period. Inspired by the mosaics of Ravenna and medieval manuscripts, he began using gold leaf to create surfaces that seemed to radiate their own light. Works such as The Kiss (1907-1908) demonstrate this mastery, featuring figures enveloped in a shimmering, patterned aura. His portraits from this time, including the Portrait of Adele Bloch-Bauer I, captured more than mere physical likeness; they conveyed a psychological weight through the use of intricate, mosaic-like textures.

    As his life drew toward its end, Klimt’s style underwent another subtle transformation. The heavy ornamentation of the golden phase began to give way to a more restrained and angular aesthetic. In works completed in 1918, such as The Jurisprudence, there is a move toward expressive simplification and sharper lines, perhaps reflecting the influence of the burgeoning Expressionist movement. His final years were marked by this continued evolution, even as he faced the physical toll of the Spanish Flu pandemic. He passed away on February 6, 1918, leaving behind a body of work that fundamentally altered the trajectory of Austrian modernism.

    Museum

    National Gallery of Canada

    On show in Ottawa, Canada

    A Sanctuary of Canadian Vision: Exploring the National Gallery of Canada

    Nestled on Sussex Drive in Ottawa, a city steeped in both political significance and artistic heritage, stands the National Gallery of Canada – more than just a repository for art, but a profound statement about national identity and a testament to enduring creative vision. Designed by the visionary Moshe Safdie, the gallery’s architecture itself is an integral part of its story; rising organically from the landscape, it’s a harmonious blend of rugged granite and shimmering glass, mirroring the duality of Canada – its untamed wilderness and its burgeoning modernity. Stepping inside feels akin to entering a sanctuary, a space deliberately conceived to inspire contemplation and celebrate the power of human expression, echoing both the creative process and the breathtaking beauty of the Canadian landscape.

    The gallery’s narrative is one of remarkable evolution, beginning in 1880 with the foresight of John Campbell, the 9th Duke of Argyll, and the Royal Canadian Academy of Arts. Initially housed within the Second Supreme Court of Canada building, its collection steadily grew, demanding a series of relocations that mirrored Canada’s own burgeoning sense of self-awareness. The formal recognition of its national mandate arrived in 1913 with the passage of the National Gallery Act, solidifying its role as custodian of Canadian artistic heritage. However, it wasn't until 1988 – a pivotal year for the nation – that the gallery finally found its permanent home on Sussex Drive, a location now inextricably linked to Canada’s commitment to arts and culture. This journey from modest origins to a world-class institution underscores the nation’s growing appreciation for art as an essential element of understanding who we are and where we come from.

    A Tapestry of Canadian and International Masters

    At the heart of the National Gallery lies an extraordinarily diverse collection, spanning continents and centuries. While its holdings boast European masterpieces – works like Degas’ Portrait of a Young Woman (after Bacchiacca) offering glimpses into international artistic dialogues – it is perhaps most renowned for its unparalleled representation of Canadian art. Here, one encounters the iconic landscapes of the Group of Seven – bold, evocative depictions of the Canadian wilderness that helped define a national aesthetic and capture the spirit of a vast and untamed land. These paintings, characterized by their vibrant colours and expressive brushstrokes, are not merely representations of scenery but profound meditations on the soul of Canada. Equally captivating is the hauntingly beautiful work of Emily Carr, capturing the essence of British Columbia’s forests and Indigenous communities with an unparalleled sensitivity to texture and light. But the gallery's commitment extends far beyond these celebrated names; it actively champions contemporary Canadian artists, providing a platform for emerging voices and innovative perspectives – ensuring that Canada’s artistic landscape remains vibrant and dynamic.

    Beyond its core collection, the National Gallery is deeply committed to showcasing Indigenous art, recognizing its profound significance within the nation's cultural fabric. The gallery’s holdings encompass ancient carvings that whisper stories of ancestral wisdom, intricate beadwork reflecting generations of tradition, and contemporary installations that challenge perceptions and provoke dialogue. This dedication to Indigenous artistic traditions isn’t simply a matter of inclusion; it’s a fundamental element of the gallery’s mission – to tell the full story of Canada, acknowledging its complex history while embracing its diverse cultural landscape. The collection includes works from various First Nations and Métis communities across Canada, offering a rich tapestry of perspectives and artistic styles.

    Architectural Marvel and Dynamic Engagement

    The building itself is a masterpiece of modern architecture, designed by Moshe Safdie to seamlessly integrate with the surrounding environment. The gallery’s design emphasizes natural light, creating an atmosphere that enhances the viewing experience and allows the artwork to truly breathe. The expansive colonnade leading to the Great Hall offers stunning views of Parliament Hill and the Ottawa River, establishing a visual connection between the art and the Canadian landscape. Beyond its exhibition spaces, the National Gallery is a dynamic cultural hub, constantly evolving and engaging with the world around it. Regular temporary exhibitions explore diverse themes – from historical movements to pressing contemporary social issues – often featuring works borrowed from international collections, fostering cross-cultural understanding and enriching the visitor experience.

    The gallery’s programming extends far beyond its exhibition spaces, offering a wealth of opportunities for engagement. Lectures, workshops, and events are regularly held, designed to cater to audiences of all ages and backgrounds, nurturing a deeper appreciation for the arts. The National Gallery understands that art isn't static; it’s a living, breathing entity that demands interaction and interpretation – a vital force in Canada’s cultural landscape that not only preserves artistic heritage but actively shapes its future.

    A Legacy of Canadian Identity

    What truly sets the National Gallery apart is its unwavering commitment to showcasing and celebrating Canadian artists alongside a profound respect for Indigenous artistic traditions. This dual focus creates a unique narrative – one that acknowledges Canada’s complex history while embracing its diverse cultural landscape. The gallery doesn't merely display art; it tells stories, providing a platform for marginalized voices, challenging conventional perspectives, and fostering a sense of national pride. It embodies the spirit of Canadian identity through art, recognizing that this identity is not monolithic but rather a vibrant mosaic of experiences, perspectives, and traditions. More than just an art museum, the National Gallery of Canada is a cultural landmark – a place where the past, present, and future of Canadian creativity converge, inspiring generations to come.

    Useful Links:

    National Gallery of Canada

    Canadian Museum of Nature

    Canada Council Art Bank

    Where to read more

    Find this online

    QR code linking to the download page for Study for

    wahooart.com/en/art/download/gustav-klimt-study-for-D4JDT4-en/

    Cite this artwork

    MLA
    Klimt, Gustav. Study for . 1906, National Gallery of Canada. https://wahooart.com/en/art/gustav-klimt-study-for-D4JDT4-en/
    APA
    Klimt, Gustav (1906). Study for [Painting]. National Gallery of Canada. https://wahooart.com/en/art/gustav-klimt-study-for-D4JDT4-en/
    Chicago
    Gustav Klimt. Study for . 1906. National Gallery of Canada. https://wahooart.com/en/art/gustav-klimt-study-for-D4JDT4-en/
    Harvard
    Klimt, Gustav (1906) Study for . National Gallery of Canada. Available at: https://wahooart.com/en/art/gustav-klimt-study-for-D4JDT4-en/

    Source: WahooArt.com — accessed Sept. 30, 2026

    Study for — Gustav Klimt Part 4 · Artist and museum

    Look closely

    Study for — Gustav Klimt

    Look closely

    Answer in your own words. There are no wrong answers here — only answers you can explain.

    1. What catches your eye first, and why?
    2. Which colours or shapes create the mood — and what is that mood?
    3. Our catalogue files this work under: woman, interior, bed. Do you agree? What would you add, or take away?
    4. Look back at The kiss, earlier in this guide. Name two things it shares with this work, and one that is different.
    5. Art Nouveau: Flowing, plant-like curves running through everything from paintings to lamps and doorways. Where can you see that in this work?

    Your response

    Write a short paragraph about this artwork. Use the facts from the earlier parts of this guide, and your answers above.

    Source: WahooArt.com — accessed Sept. 30, 2026

    Study for — Gustav Klimt Part 5 · Look closely

    Art quiz

    Study for — Gustav Klimt

    How well do you know this artwork?

    Tick one answer for each of the 5 questions below. Each has exactly one correct answer.

    1. 1. Based on the description, what is the primary subject of this artwork?

      • A A portrait of a wealthy nobleman
      • B A study depicting a woman in bed with books and furniture
      • C An abstract landscape scene

    2. 2. The artist, Gustav Klimt, was known for his use of which distinctive technique?

      • A Pointillism – a method of applying small dots of color to create an image.
      • B Gold leaf and decorative patterns, often associated with Art Nouveau.
      • C Photorealism – meticulously rendering subjects as if they were photographs.

    3. 3. The year 1906 is significant in this artwork because it represents:

      • A The year Klimt began his formal training at the Vienna Kunstgewerbeschule.
      • B The year the painting was completed and first exhibited.
      • C The year Klimt’s father, Ernst Klimt, established his gold engraving business.

    4. 4. Considering Klimt's background as a student of architectural painting, what skill would have been most directly developed during his training?

      • A Expressive brushwork and emotional rendering.
      • B Precise draftsmanship and understanding of perspective.
      • C The use of vibrant, unrealistic color palettes.

    5. 5. What does the inclusion of a clock in the scene likely symbolize?

      • A The passage of time and mortality.
      • B A reference to Klimt’s interest in astrology.
      • C An advertisement for a local watchmaker.

    My score: ____ out of 5

    Answer key — for the teacher

    This starts a fresh printed page, so it can simply be left out of the copies.

    1B · 2B · 3B · 4B · 5A

    Check any answer against the catalogue record for this painting

    Source: WahooArt.com — accessed Sept. 30, 2026

    Study for — Gustav Klimt Part 6 · Art quiz

    Questions & Answers

    How saturated is the palette of "Study for"?

    "Study for" by Gustav Klimt is recorded with a clear color presence saturation.

    What is the format of "Study for"?

    The format of "Study for" is portrait. This is useful when planning where a reproduction will be placed.

    What is "Study for" about?

    The themes present in "Study for" by Gustav Klimt include woman, interior, bed, reading, chair, couch, clock, gold. Together they summarize the artwork's subject matter.