After the War, despite grand reparations from Germany, various industrialists did indeed make pots of lucre, gold, and pelf. Ferdinand Bloch-Bauer, a wealthy Viennese sugar merchant had amassed much wealth even before the war. In 1907, he commissioned Gustav Klimt to paint a portrait of his wife, Adele, one of seven Klimt paintings he went on to accumulate. His niece, Maria Altman visited them often in the post-War years. Adele died in 1925, asking her husband to donate the Klimts to the National Austrian Gallery on his death. Before the next decade was out, however, and well before his demise, the Nazi Anschluss in 1938 meant all the paintings and property, including the sugar factory, were confiscated, "aryanized", and placed under "Protective Custody."

Much art was taken from its rightful owners during the Second World War. The ERR seized numerous Jewish art collections, with Hitler mandating in 1940 that all consficated works of art were to be made over to him, and envisioning a National Socialist Art Museum in Linz, his home town. Much of these plundered works are still missing, unreturned to their rightful owners, or worse, destroyed.

Ferdinand died in Switzerland, penniless, willing his by-now notional possessions to his nephews and Maria Altman, who had been able to escape to the United States with her husband from a concentration camp. When the war ended, the Austrian government forbade the removal of "Austrian art" from their borders, requiring recompense from claimants. Dr Karl Renner, Austrian President, wrote on the issue, stating, "Restitution of property stolen from Jews, this [should be] not to the individual victims, but to a collective restitution fund. The establishment of such and the following foreseeable arrangements is necessary in order to prevent a massive, sudden flood of returning exiles"

Gustav Klimt was as Austrian as the Sacher torte, but his artistic sensibilities ran contrary to the regimental and traditional culture of Vienna. He was a founding member of the Vienna Secession movement, known today as Art Nouveau, that adopted the motto, "to every age its art and to art its freedom", and stretched the boundaries of art in fin-de-siecle Vienna, itself challenged by other intellectuals such as Dr Freud.

Klimt borrowed from numerous influences, and he painted the Adele Bloch-Bauer I in a form inspired by the golden shower of Danae by Zeus. It is Byzantine in form, with sumptuous gold patterns such as those at Ravenna in Italy. Amid this ornate background, the subject's face and hands stand out in stark contrast, conveying much confidence and worldly knowledge, as might be apposite for a woman who hosted a notable salon of the day in Vienna. The high point of European Modernism would soon descend into Fascist intolerance and orthodoxy.