Woman in Gold 2015

As Maria Altmann’s (now an elderly widow living in Los Angeles) eyes wander through her sister’s funeral procession, a poignant flashback unfolds, transporting her back to the turbulent era of the Anschluss, when Nazi forces descended upon Vienna, pillaging Jewish families and leaving a trail of devastation in their wake. The memories are bittersweet, as Maria recalls the desperation that drove her family to flee the United States, forced to abandon her parents behind. Her mind lingers on the painful decision she was compelled to make.

In the present, Maria’s chance encounter with letters dating back to the late 1940s sets in motion a chain of events that will change the course of her life. The missives reveal a long-forgotten quest by her family to reclaim artwork plundered by the Nazis during their flight from Vienna. One painting in particular holds sentimental value: “The Woman in Gold”, a portrait of Maria’s aunt, Adele Bloch-Bauer.

With a newfound sense of purpose, Maria seeks the help of E. Randol Schoenberg (the son of her close friend Barbara), an inexperienced lawyer willing to take on the challenge. Together, they embark on a mission to reclaim the painting from Austria’s art restitution board. Maria’s return to her homeland is marked by reluctance and trepidation as she faces off against the country’s minister and art director, who are adamant that the painting has become an integral part of Austria’s national identity.

As the truth begins to unravel, it becomes clear that the alleged will bequeathing the painting to the gallery is invalid. A closer examination reveals that Adele Bloch-Bauer never owned the painting; her husband had paid the artist’s fee on her behalf. The Nazis, with the complicity of a curator, seized the artwork from the family and placed it in the museum before Adele’s untimely passing.

Undeterred, Schoenberg files a challenge with the art restitution board, but their efforts are met with denial and Maria is left without the financial means to pursue further action. Defeated, she and Schoenberg return to the United States, their quest for justice and recompense remaining an open wound.

As Schoenberg’s gaze falls upon the haunting image of “Woman in Gold” on the cover of a worn art book, the wheels of justice begin to turn in his mind. Seizing upon a narrow legal precedent and retroactive application of an art restitution law, he crafts a compelling claim against the Austrian government, challenging their claim to the painting’s ownership. The appeal makes its way to the highest court in the land, where the Supreme Court of the United States rules decisively in Altmann’s favor, setting off a chain reaction that culminates in the Austrian government’s futile attempts to persuade her to retain the painting for the sake of the gallery.

However, Schoenberg’s determination is met with resistance when he and Altmann disagree on the best course of action. In a dramatic turn of events, she agrees to let him argue the case before a panel of three arbiters in Vienna, entrusted with rendering a verdict that will shape the fate of the painting and its rightful owner.

Upon arriving in Austria, Schoenberg’s impassioned plea to the arbitration panel is nothing short of a call to conscience. He vividly recalls the atrocities committed by the Nazi regime, imploring the panel to consider the true meaning of restitution and to gaze beyond the grand art galleries to the families who were cruelly separated from their treasured possessions by the very same forces that once sought to erase their identities.

In a stunning twist, Altmann appears unexpectedly during the arbitration session, her presence serving as a testament to her unwavering commitment to justice. As the panel deliberates, Schoenberg’s impassioned words hang in the air like a challenge to their consciences. In the end, the arbitration panel rules in Altmann’s favor, rendering a verdict that sends shockwaves through the art world.

In a final act of defiance, the Austrian government representative makes one last plea, begging Altmann to reconsider and keep the painting within the hallowed halls of the Belvedere against a generous compensation package. Yet, undeterred by their entreaties, she refuses, opting instead to accept Ronald Lauder’s offer to acquire the painting for his New York gallery on the condition that it become a permanent exhibit, where it will serve as a poignant reminder of the enduring power of justice and the unwavering dedication of those who fight to reclaim what was lost.