If Vermeer’s light is quiet, Gustav Klimt’s light is loud.
In his Portrait of Adele Bloch-Bauer I (also known as “The Woman in Gold”), the subject is almost swallowed by a sea of gold leaf and Byzantine patterns. But amidst this visual cacophony, one piece of jewelry holds its ground: the broad diamond choker.
The Dog Collar (Collier de Chien)
Adele wears a wide, jeweled choker, a style known as collier de chien (dog collar).
This style was popularized by Alexandra, Princess of Wales (later Queen), in the late 19th century to hide a scar on her neck. By the time Klimt painted Adele in 1907, it was the height of fashion for society ladies in Vienna and Paris.
In the painting, this choker serves a crucial visual function. It separates Adele’s head from her body.
- Her body is dissolving into the abstract, golden background.
- Her head, painted realistically, floats above the choker like a detached icon.
The Tension of Art Nouveau
Klimt was a leading figure of the Vienna Secession (a branch of Art Nouveau). This movement sought to break away from academic tradition and embrace decorative arts.
Adele’s jewelry reflects this tension. The choker is rigid, geometric, and modern. It contrasts with the soft, vulnerable flesh of her neck and shoulders. It symbolizes the “gilded cage” of her social status—she is a wealthy, admired muse, but she is also trapped in the decorative role society (and the artist) has assigned to her.
A Real Piece?
Adele Bloch-Bauer was a wealthy patron of the arts. She certainly owned magnificent jewelry. However, Klimt often redesigned jewelry in his paintings to fit his composition.
Whether this specific choker existed exactly as painted is debated, but it perfectly captures the spirit of the Wiener Werkstätte (Vienna Workshop)—luxury, geometry, and a touch of decadence.
Conclusion
In this golden masterpiece, the diamond choker is the border between the woman and the goddess. It anchors her human face in a divine, abstract universe. It is a symbol of the Belle Époque’s obsession with beauty, wealth, and the decorative power of the female form.
