Portrait of Wally is a 1912 oil painting by a protégé of Gustav Klimt whose work is noted for its intensity and what?
Portrait of Wally Portrait of Wally is a 1912 oil painting by Austrian painter Egon Schiele of Walburga "Wally" Neuzil, a woman whom he met in 1911 when he was 21 and she was 17. She became his lover and model for several years, depicted in a number of Schiele's most striking paintings. The painting was obtained by Rudolf Leopold in 1954 and became part of the collection of the Leopold Museum when it was established by the Austrian government, purchasing 5,000 pieces that Leopold had owned. Near the end of a 1997–1998 exhibit of Schiele's work at the Museum of Modern Art in New York, the painting's ownership history was revealed in an article published in "The New York Times". After the publication, the heirs of Lea Bondi Jaray, to whom the work had belonged before World War II, contacted the New York County District Attorney who issued a subpoena forbidding its return to Austria. The work was tied up in litigation for years by Bondi's heirs, who claimed that the painting was Nazi plunder and should have been returned to them.
Giornata Giornata is an art term, originating from an Italian word which means "a day's work." The term is used in Buon fresco mural painting and describes how much painting can be done in a single day of painting. Knowing how much can be painted in a day is crucial in the Buon fresco technique, because in this technique a watercolor paint, without binder, is applied to wet lime plaster which binds the paint into the surface of the plaster when it dries, making for an extremely durable painting. An experienced fresco painter knows how much surface can be painted in a day, and wet plaster is applied to the wall in the right amount needed for each day's work. That amount is the "giornata". Generally the plaster is applied in a way that will conform to the outline of a figure, or object, in a painting, so that the daily segments will not show, but it is occasionally visible as different sections in a work where the artist may not have been able to replicate a pigment exactly the next day, or where restoration has altered or made apparent the changes in pigment between the sections.