Stehender Akt eines Liebespaares (Studie für „Erfüllung“ im Stocletfries)

1900–1907

He returns the advance and keeps the paintings

The state commission refused to accept the three “Faculty Paintings”; Klimt told the minister he would return the 60,000-krone advance, refused to work for the Austrian state again and kept the pictures. The ministry demanded them, but Klimt did not open the door to the removal men — and the affair ended in his victory.

1905

Klimt and his group leave the Secession

Klimt and his “stylist” followers, who held that art should enter every sphere of life, fell out with the “naturalists”; the decision against Klimt's group was carried by a single vote. For the next three years the group had no joint exhibitions.

1906

The “Kunstschau” group

A year after the split Klimt formed the “Kunstschau” group, or “Klimt group”, which included Carl Moll, Otto Wagner and other leading Austrian artists.

1 June – 16 November 1908

The first Vienna Art Show

For the sixtieth anniversary of Franz Joseph's reign pavilions with 54 rooms were built on a temporary site and over 900 works shown. Room 22, which Peter Altenberg called “the church of modern art named after Gustav Klimt”, held “The Kiss”, “Adele Bloch-Bauer I”, “Danaë” and “The Three Ages of Woman”.

1909

The second Vienna Art Show

The second generation of modernists was represented by Kokoschka and Egon Schiele, and Klimt showed “Judith II” and “Hope II”. The works of Van Gogh, Munch, Gauguin, Vallotton, Bonnard and Matisse gave him the impulse for a new phase, but he never organized exhibitions again.

1910

Klimt at the Venice Biennale

Klimt's exhibition at the 1910 Venice Biennale influenced the artistic scene of Venice; the Italian Liberty artists Galileo Chini and Vittorio Zecchin were among those he influenced.