What I Learned from Reimagining Klimt’s Golden World
Gustav Klimt’s paintings shimmer in ways that are hard to forget. Standing in front of The Kiss or Portrait of Adele Bloch-Bauer, the gold doesn’t just decorate — it glows, it breathes, it transforms the figures into something sacred.
For my Masters Reimagined series, I wanted to understand how Klimt achieved that luminous quality and see how it could be adapted into watercolor. What I discovered was both fascinating and humbling.
1. Adhesive Timing Is Everything
Before even starting my first study, I spent two days running small experiments. The biggest lesson? Gold leaf doesn’t forgive impatience. If you rush, the leaf won’t stick; if you wait too long, the tackiness fades.
Sweet spot: About 15–20 minutes in my studio’s conditions (though it fluctuated with temperature changes).
Pro tip: Professionals use a “knuckle test.” If it feels tacky but doesn’t leave residue, it’s ready.
What worked best for me was setting a timer at 10 minutes, then checking the adhesive from the side. If it was still shimmering (wet), I waited longer. If not, I went in.
In the future, I want to try Kölner Miniatum or Roberson Watercolor Gold Size— an archival adhesive specifically designed for gilding on paper. It’s more conservation-safe than many common craft adhesives.
2. Paper Is Tricky
Klimt worked differently depending on the support: oil size on canvas, egg tempera size on plaster walls. Both are rigid surfaces that can hold leaf long-term. Watercolor paper, on the other hand, is bendy, absorbent, and delicate — which makes things complicated.
There isn’t a “perfect” archival method for leafing on watercolor paper. Imitation leaf especially needs care, since it’s not real gold but typically brass (copper + zinc) or sometimes aluminum — metals that will oxidize over time unless sealed.
🔑 The Archival Challenge
Imitation leaf = brass (copper + zinc) or aluminum. These metals oxidize/tarnish over time.
Archival = stable, non-yellowing, ideally reversible.
The problem: Most craft leaf sealants aren’t archival, and most fine-art varnishes don’t stop oxidation.
That’s why the best approach is a layered system.
3. Texture Matters
Looking closely at Klimt’s work, you notice raised ornaments — spirals, rectangles, little mosaics that catch the light differently. I tested fiber paste and watercolor ground to mimic that effect, sometimes mixing in black gouache or Bombay Ink to create darker bases under the gold.
Fiber paste held carved designs better, giving a richer, tactile surface.
Watercolor ground was smoother but lacked relief.
I haven’t yet mastered Klimt’s embossing techniques, but I understand why texture was central to his glow. For future experiments, I’d like to try working on rigid supports like Ampersand Aquabord and build true gesso relief, as Klimt did.
The “Golds” I have in comparison! Although, scanning doesn’t quite give off the true shimmer/reflections.
4. Real vs. Imitation vs. Metallic Paints
Here’s how the contenders stacked up when I compared them side by side under light:
Real gold leaf: unmatched shimmer, archival, no sealer needed.
Imitation leaf: looks convincing, but tarnishes unless sealed.
Schmincke Aqua Bronze: very close to imitation leaf in look, probably because it’s actual metal powder.
Gansai Tambi Starry Colors: surprisingly good shimmer for paint.
Coliro metallics: beautiful, but my “Moon Gold” leaned more toward white gold, not that warm Klimt glow.
My ranking:
Imitation leaf
Aqua Bronze
Gansai Tambi
Coliro
For commissions, I’d reach for real gold leaf. For large personal pieces, imitation feels practical. Aqua Bronze is my go-to for filling gaps or adding shimmer where leaf won’t work.
5. Sealing and Archival Concerns
This was another delicate area:
Real gold doesn’t tarnish, so no sealer is required. (Though Klimt sometimes varnished his works, according to conservation notes.)
Imitation leaf does tarnish, and sealing it on watercolor is tricky. Brushing varnish can disturb both the paint and the delicate leaf.
My current best workflow:
Spray the watercolor area with Golden Archival Varnish (UV protection + stability).
Apply adhesive + imitation leaf.
Seal the leaf itself with Mona Lisa Leaf Sealer (not fully archival, but prevents tarnish AND I haven’t yet got this but excited to try testing them out).
Finish with a light coat of Golden Archival Varnish over the entire piece to unify protection.
This layered system gives me both tarnish resistance and archival UV stability, even though there’s no single product that does both.
6. Learning Through Doing (and Failing)
The most valuable lessons came from mistakes. Forgetting to tint the adhesive reminded me how important underpainting is. Watching glue seep into recesses showed me that Klimt’s relief designs weren’t decorative afterthoughts — they required planning.
These errors taught me not just how Klimt worked, but why he was such a technical innovator. He adapted old gilding traditions to modern materials, making them sing on canvas.
7. Bringing It Into My Own Work
In my final Klimt-inspired portrait, I used imitation gold leaf for the main shimmer, layered Gansai Tambi and Aqua Bronze for smaller accents, and added gouache for detail. It wasn’t about copying Klimt, but about borrowing his rhythm of glow, contrast, and pattern to enrich my own watercolor practice.
Closing Thoughts
Reimagining Klimt taught me that gold is more than decoration. It’s light captured in a fragile form, and working with it demands patience, planning, and respect for materials.
For watercolorists like me, adapting Klimt’s techniques means constant testing — failing, adjusting, and finding new hybrids that honor his legacy while fitting today’s mediums.
And that’s the joy of this series: learning not only about the masters, but also about myself as an artist.
🎥 I have a video on the whole process — enjoy!
