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Gustav Klimt

Gustav Klimt (14 July 1862 – 6 February 1918) was an Austrian symbolist painter and one of the most prominent members of the Vienna Secession movement. Klimt is noted for his paintings, murals, sketches, and other objets d'art. Klimt's primary subject was the female body, and his works are marked by a frank eroticism. Amongst his figurative works, which include allegories and portraits, he painted landscapes. Among the artists of the Vienna Secession, Klimt was the most influenced by Japanese art and its methods.

Early in his career, he was a successful painter of architectural decorations in a conventional manner. As he began to develop a more personal style, his work was the subject of controversy that culminated when the paintings he completed around 1900 for the ceiling of the Great Hall of the University of Vienna were criticized as pornographic. He subsequently accepted no more public commissions, but achieved a new success with the paintings of his "golden phase", many of which include gold leaf. Klimt's work was an important influence on his younger peer Egon Schiele.

Since the 1990s, he has been one of the artists whose paintings fetch top prices at auctions.

Early life

Gustav Klimt was born in Baumgarten, near Vienna in the Austrian Empire, the second of seven children—three boys and four girls. His mother, Anna Klimt (née Finster), had an unrealized ambition to be a musical performer. His father, Ernst Klimt the Elder, formerly from Bohemia, was a gold engraver. All three of their sons displayed artistic talent early on. Klimt's younger brothers were Ernst Klimt and.

Klimt lived in poverty while attending the Vienna Kunstgewerbeschule, a school of applied arts and crafts, now the University of Applied Arts Vienna, where he studied architectural painting from 1876 until 1883. He revered Vienna's foremost history painter of the time, Hans Makart. Klimt readily accepted the principles of a conservative training; his early work may be classified as academic. In 1877 his brother, Ernst, who, like his father, would become an engraver, also enrolled in the school. The two brothers and their friend, Franz Matsch, began working together and by 1880 they had received numerous commissions as a team that they called the "Company of Artists". They also helped their teacher in painting murals in the Kunsthistorisches Museum in Vienna. Klimt began his professional career painting interior murals and ceilings in large public buildings on the Ringstraße, including a successful series of "Allegories and Emblems".

In 1888 Klimt received the Golden Order of Merit from Emperor Franz Josef I of Austria for his contributions to murals painted in the Burgtheater in Vienna. He also became an honorary member of the University of Munich and the University of Vienna. In 1892 Klimt's father and brother Ernst both died, and he had to assume financial responsibility for his father's and brother's families. The tragedies also affected his artistic vision and soon he would move towards a new personal style. Characteristic of his style at the end of the 19th century is the inclusion of Nuda Veritas (naked truth) as a symbolic figure in some of his works, including Ancient Greece and Egypt (1891), Pallas Athene (1898) and Nuda Veritas (1899). Historians believe that Klimt with the nuda veritas denounced both the policy of the Habsburgs and Austrian society, which ignored all political and social problems of that time. In the early 1890s Klimt met Austrian fashion designer Emilie Louise Flöge (a sibling of his sister-in-law) who was to be his companion until the end of his life. His painting, The Kiss (1907–08), is thought to be an image of them as lovers which was painted five years after Klimt's 1902 full-length portrait of her. He designed many costumes that she produced and modeled in his works.

During this period, Klimt fathered at least fourteen children.

Vienna Secession years
Klimt became one of the founding members and president of the Wiener Secession in 1897 and of the group's periodical, Ver Sacrum ("Sacred Spring"). He remained with the Secession until 1908. The goals of the group were to provide exhibitions for unconventional young artists, to bring the works of the best foreign artists to Vienna, and to publish its own magazine to showcase the work of members. The group declared no manifesto and did not set out to encourage any particular style—Naturalists, Realists, and Symbolists all coexisted. The government supported their efforts and gave them a lease on public land to erect an exhibition hall. The group's symbol was Pallas Athena, the Greek goddess of just causes, wisdom, and the arts—of whom Klimt painted his radical version in 1898. In 1894, Klimt was commissioned to create three paintings to decorate the ceiling of the Great Hall of the University of Vienna. Not completed until the turn of the century, his three paintings, Philosophy, Medicine, and Jurisprudence were criticized for their radical themes and material, and were called "pornographic". Klimt had transformed traditional allegory and symbolism into a new language that was more overtly sexual and hence more disturbing to some. The public outcry came from all quarters—political, aesthetic and religious. As a result, the paintings (seen in gallery below) were not displayed on the ceiling of the Great Hall. This was to be the last public commission accepted by the artist. All three paintings were destroyed when retreating German forces burned Schloss Immendorf in May 1945, together with another ten paintings, including Schubert at the Piano, Girlfriends (or Two Women Friends), Wally (portrait), ''The Music (II)".

His Nuda Veritas (1899) defined his bid to further "shake up" the establishment. The starkly naked red-headed woman holds the mirror of truth, while above her is a quotation by Friedrich Schiller in stylized lettering: "If you cannot please everyone with your deeds and your art, please only a few. To please many is bad." In 1902, animated by resentment Klimt wanted to title the painting Gold Fish (in which a naked woman ostentatiously and maliciously shows her butt), "To my critics", but was dissuaded by friends.

In 1902, Klimt finished the Beethoven Frieze for the Fourteenth Vienna Secessionist exhibition, which was intended to be a celebration of the composer and featured a monumental polychrome sculpture by Max Klinger. Intended for the exhibition only, the frieze was painted directly on the walls with light materials. After the exhibition the painting was preserved, although it was not displayed again until restored in 1986. The face on the Beethoven portrait resembled the composer and Vienna Court Opera director Gustav Mahler.

In 1905, dissensions within the Secession increased, and when the artistic consultant of the Galerie Mietkhe Carl Moll was attacked by colleagues of the Secession for his work, a strong controversy arose which created a real internal split, led by Klimt. The following year, Klimt formed the group called "Kunstschau" (Art Show) or "Klimt group", which also included Moll and Otto Wagner, among other important Austrian artists.

During this period Klimt did not confine himself to public commissions. Beginning in the late 1890s he took annual summer holidays with the Flöge family on the shores of Attersee and painted many of his landscapes there, such as Schloss by the Water. These landscapes constitute the only genre aside from figure painting that seriously interested Klimt. In recognition of his intensity, the locals called him Waldschrat ("forest demon").

Klimt's Attersee paintings are of sufficient number and quality as to merit separate appreciation. Formally, the landscapes are characterized by the same refinement of design and emphatic patterning as the figural pieces. Deep space in the Attersee works is flattened so efficiently to a single plane that it is believed that Klimt painted them by using a telescope.

Golden phase and critical success

From 1900 Gustav Klimt became famous above all as a "painter of women". He created about one large-format portrait of a woman per year, in which he applied the principles of Art Nouveau - flatness, decoration, gold leaf application. At the same time, he devoted himself to allegories and Old Testament heroines, which he transformed, however, into dangerous "femmes fatales". Eros, sexuality and femininity were variously interpreted by him as alluring danger. Life, love, and death can be determined as the important themes of Klimt's work. Klimt's 'Golden Phase' was marked by positive critical reaction and financial success. Many of his paintings from this period included gold leaf. Klimt had previously used gold in his Pallas Athene (1898) and Judith I (1901), although the works most popularly associated with this period are the Portrait of Adele Bloch-Bauer I (1907) and The Kiss (1907–08).

Klimt traveled in all Europe, mainly to present his works on occasion of international exhibitions, but trips to Venice and Ravenna, both famous for their beautiful mosaics, most likely inspired his gold technique and his Byzantine imagery. In 1904, he collaborated with other artists on the lavish Stoclet Palace, the home of a wealthy Belgian industrialist that was one of the grandest monuments of the Art Nouveau age. Klimt's contributions to the dining room, including both Fulfillment and Expectation, were some of his finest decorative works, and as he publicly stated, "probably the ultimate stage of my development of ornament."

In 1905, Klimt painted The Three Ages of Woman, depicting the cycle of life. He created a painted portrait of Margarete Wittgenstein, Ludwig Wittgenstein's sister, on the occasion of her marriage. Then, between 1907 and 1909, Klimt painted five canvases of society women wrapped in fur. His apparent love of costume is expressed in the many photographs of Flöge modeling clothing he had designed.

As he worked and relaxed in his home, Klimt normally wore sandals and a long robe with no undergarments. His simple life was somewhat cloistered, devoted to his art, family, and little else except the Secessionist Movement from which he and many colleagues eventually resigned. He avoided café society and seldom socialized with other artists. Klimt's fame usually brought patrons to his door and he could afford to be highly selective. His painting method was very deliberate and painstaking at times and he required lengthy sittings by his subjects. Although very active sexually, he kept his affairs discreet and he avoided personal scandal.

The artist cultivated close relationships with some of his clients, who were primarily from the assimilated Jewish Viennese Haute bourgeoisie. He cultivated intimate relationships especially with his models from upper class circles. He was considered progressive for his time, because he allowed women an active role in sexuality.

Klimt wrote little about his vision or his methods. He wrote mostly postcards to Flöge and kept no diary. In a rare writing called "Commentary on a non-existent self-portrait", he states "I have never painted a self-portrait. I am less interested in myself as a subject for a painting than I am in other people, above all women... There is nothing special about me. I am a painter who paints day after day from morning to night ... Whoever wants to know something about me ... ought to look carefully at my pictures."

In 1901 Hermann Bahr wrote, in his Speech on Klimt: "Just as only a lover can reveal to a man what life means to him and develop its innermost significance, I feel the same about these paintings."

Final years and death

In 1911 his painting Death and Life received first prize in the world exhibitions in Rome. In 1915 Anna, his mother, died. Klimt died three years later in Vienna on 6 February 1918, having suffered a stroke and pneumonia brought about by the worldwide influenza epidemic of that year. He was buried at the Hietzinger Cemetery in Hietzing, Vienna. Numerous paintings by him were left unfinished.

Gustav Klimt: Das Werk
The only folio set produced in Klimt's lifetime, Das Werk Gustav Klimts, was published initially by H. O. Miethke (of Galerie Miethke, Klimt's exclusive gallery in Vienna) from 1908 to 1914 in an edition of 300, supervised personally by the artist. The first thirty-five editions (I-XXXV) each included an original drawing by Klimt, and the next thirty-five editions (XXXVI–LXX) each with a facsimile signature on the title page. Fifty images depicting Klimt's most important paintings (1893–1913) were reproduced using collotype lithography and mounted on a heavy, cream-colored wove paper with deckle edges. Thirty-one of the images (ten of which are multicolored) are printed on Chine-collé. The remaining nineteen are high quality halftones prints. Each piece was marked with a unique signet—designed by Klimt—which was impressed into the wove paper in gold metallic ink. The prints were issued in groups of ten to subscribers, in unbound black paper folders embossed with Klimt's name. Because of the delicate nature of collotype lithography, as well as the necessity for multicolored prints (a feat difficult to reproduce with collotypes), and Klimt's own desire for perfection, the series that was published in mid-1908 was not completed until 1914.

Each of the fifty prints was categorized among five themes:
 * 1) Allegorical (which included multicolored prints of The Golden Knight, 1903 and The Virgin, c. 1912)
 * 2) Erotic-Symbolist (Water Serpents I and Water Serpents II, both c. 1907–08 and The Kiss, c. 1908)
 * 3) Landscapes (Farm Garden with Sunflowers, 1907)
 * 4) Mythical or Biblical (Pallas Athena, 1898; Judith and The Head of Holofernes, 1901; and Danaë, c. 1908)
 * 5) Portraits (Emilie Flöge, 1902)

The monochrome collotypes as well as the halftone works were printed with a variety of colored inks ranging from sepia to blue and green. Emperor Franz Joseph I of Austria was the first to purchase a folio set of Das Werk Gustav Klimts in 1908.

Fünfundzwanzig Handzeichnungen
Fünfundzwanzig Handzeichnungen ("Twenty-five Drawings") was released the year after Klimt's death. Many of the drawings in the collection were erotic in nature and just as polarizing as his painted works. Published in Vienna in 1919 by Gilhofer & Ranschburg, the edition of 500 features twenty-five monochrome and two-color collotype reproductions, nearly indistinguishable from the original works. While the set was released a year after Klimt's death, some art historians suspect he was involved with production planning because of the meticulous nature of the printing (Klimt had overseen the production of the plates for Das Werk Gustav Klimts, making sure each one was to his exact specifications, a level of quality carried through similarly in Fünfundzwanzig Handzeichnungen). The first ten editions also each contained an original Klimt drawing.

Many of the works contained in this volume depict erotic scenes of nude women, some of whom are masturbating alone or are coupled in sapphic embraces. When a number of the original drawings were exhibited to the public, at Galerie Miethke in 1910 and the International Exhibition of Prints and Drawings in Vienna in 1913, they were met by critics and viewers who were hostile towards Klimt's contemporary perspective. There was an audience for Klimt's erotic drawings, however, and fifteen of his drawings were selected by Viennese poet Franz Blei for his translation of Hellenistic satirist Lucian's Dialogues of the Courtesans. The book, limited to 450 copies, provided Klimt with the opportunity to show these more lurid depictions of women and avoided censorship thanks to an audience composed of a small group of (mostly male) affluent patrons.

Gustav Klimt An Aftermath
Composed in 1931 by editor Max Eisler and printed by the Austrian State Printing Office, Gustav Klimt An Aftermath was intended to complete the lifetime folio Das Werk Gustav Klimts. The folio contains thirty colored collotypes (fourteen of which are multicolored) and follows a similar format found in Das Werk Gustav Klimts, replacing the unique Klimt-designed signets with gold-debossed plate numbers. One hundred and fifty sets were produced in English, with twenty of them (Nos. I–XX) presented as a "gala edition" bound in gilt leather. The set contains detailed images from previously released works (Hygeia from the University Mural Medicine, 1901; a section of the third University Mural Jurisprudence, 1903), as well as the unfinished paintings (Adam and Eve, Bridal Progress).

Drawings
In 1963, the Albertina museum in Vienna began researching the drawings of Gustav Klimt. The research project ''Gustav Klimt. Die Zeichnungen'', has since been associated with intensive exhibition and publication activities.

Between 1980 and 1984 Alice Strobl published the three-volume catalogue raisonné, which records and describes all drawings by Gustav Klimt known at the time in chronological order. An additional supplementary volume was published in 1989. In the following year Strobl transferred her work to the art historian and curator Marian Bisanz-Prakken, who had assisted her since 1975 in the determination and classification of the works and who continues the research project to this day. Since 1990, Marian Bisanz-Prakken has redefined, documented, and scientifically processed around 400 further drawings.

This makes the Albertina Vienna the only institution in the world that has been examining and scientifically classifying the artist's works for half a century. The research project now includes information on over 4,300 works by Gustav Klimt.

Selected works

 * Klimt University of Vienna Ceiling Paintings
 * Palais Stoclet mosaic in Brussels
 * Fable (1883)
 * Idylle (1884)
 * The Theatre in Taormina (1886–1888), Burgtheater, Vienna
 * Auditorium in the Old Burgtheater, Vienna (1888)
 * Portrait of Joseph Pembauer, the Pianist and Piano Teacher (1890)
 * Ancient Greece II (Girl from Tanagra) (1890–91)
 * Portrait of a Lady (Frau Heymann?) (1894)
 * Music I (1895)
 * Love (1895)
 * Sculpture (1896)
 * Tragedy (1897)
 * Music II (1898)
 * Pallas Athene (1898)
 * Flowing water (1898)
 * Portrait of Sonja Knips (1898)
 * Fish Blood (1898)
 * Schubert at the Piano (destroyed 1899)
 * After the Rain (Garden with Chickens in St Agatha) (1899)
 * Nymphs (Silver Fish) (1899)
 * Mermaids (1899)
 * Philosophy (1899–1907)
 * Nuda Veritas (1899)
 * Portrait of Serena Lederer (1899)
 * Medicine (Hygieia) (1900–1907)
 * Music (Lithograph) (1901)
 * Judith I (1901)
 * Buchenwald (Birkenwald) (1901)
 * Gold Fish (To my critics) (1901–02)
 * Insel im Attersee (1901–1902)
 * Portrait of Gertha Felsovanyi (1902)
 * Portrait of Emilie Flöge (1902)
 * Beech Forest (1902)
 * Beech Grove I (1902)
 * Beethoven Frieze (1902)
 * Beech woods (1903)
 * Hope (1903)
 * Pear Tree (1903)
 * Life is a struggle (1903)
 * Jurisprudence (1903–1907)
 * Water Serpents I (Wasserschlangen I, 1904–1907)
 * Water Serpents II (Wasserschlangen II, 1904–1907)
 * The Three Ages of Woman (1905)
 * Portrait of Margaret Stonborough-Wittgenstein (1905)
 * Farm Garden (Flower Garden) (1905–06)
 * The Stoclet Frieze (1905–1909)
 * Portrait of Fritza Riedler (1906)
 * Sunflower (1906–07)
 * Farm Garden with Sunflowers (1907)
 * Danaë (1907)
 * Portrait of Adele Bloch-Bauer I (1907)
 * Poppy Field (1907)
 * Hope II (1907–08)
 * on the Attersee I (1908)
 * The Kiss (1907–08)
 * Lady with Hat and Feather Boa (1909)
 * The Tree of Life (1909)
 * Judith II (Salomé) (1909)
 * Black Feather Hat (Lady with Feather Hat) (1910)
 * Schloss Kammer on the Attersee III (1910)
 * The Park (1910)
 * Death and Life (1911)
 * Cottage Garden with Crucifix (destroyed) (1911–12)
 * Apple Tree (1912)
 * Forester's House, Weissenbach on Lake Attersee (1912)
 * Portrait of Mäda Gertrude Primavesi (1912)
 * Portrait of Adele Bloch-Bauer II (1912)
 * The Maiden (Die Jungfrau) (1913)
 * Semi-nude seated, reclining (1913)
 * Semi-nude seated, with closed eyes (1913)
 * Portrait of Eugenia Primavesi (1913–14)
 * Lovers, drawn from the right (1914)
 * Portrait of Elisabeth Bachofen-Echt (1914)
 * Semi-nude lying, drawn from the right (1914–15)
 * Portrait of Friederike Maria Beer (1916)
 * Houses in Unterach on the Attersee (1916)
 * Death and Life (1916)
 * Garden Path with Chickens (destroyed)(1916)
 * The Girl-Friends (destroyed) (1916–17)
 * Woman seated with thighs apart, drawing (1916–17)
 * The Dancer (1916–1918)
 * Leda (destroyed) (1917)
 * Portrait of a Lady, en face (1917–18)
 * Adam and Eve (unfinished, 1917–18)
 * Portrait of Johanna Staude (unfinished, 1917–18)
 * The Bride (unfinished, 1917–18)
 * Lady with a Fan, c. 1917–18, Klimt's last painting

 * Portrait of Fräulein Lieser, 1917, not signed

Posthumous auction history
Klimt's paintings have brought some of the highest prices recorded for individual works of art. In November 2003, Klimt's Landhaus am Attersee sold for $29,128,000, but that sale was soon eclipsed by prices paid for Willem de Kooning's Woman III and later Klimt's own Adele Bloch-Bauer II, the latter of which sold for $150 million in 2016. More frequently than paintings, however, the artist's works on paper can be found on the art market. The art market database Artprice lists 67 auction entries for paintings, but 1564 for drawings and watercolors. The most expensive drawing sold so far was "Reclining Female Nude Facing Left", which was made between 1914 and 1915 and sold in London in 2008 for GB£505,250. However, the majority of the art trade traditionally takes place privately through galleries such as Wienerroither & Kohlbacher, which specialize in the trade with original works by Gustav Klimt and Egon Schiele and regularly present these at monographic exhibitions and international art fairs.

In 2006, the 1907 portrait, Adele Bloch-Bauer I, was purchased for the Neue Galerie New York by Ronald Lauder reportedly for US$135 million, surpassing Picasso's 1905 Boy With a Pipe (sold 5 May 2004 for $104 million), as the highest reported price ever paid for a painting up to that point.

On 7 August 2006, Christie's auction house announced it was handling the sale of the remaining four works by Klimt that were recovered by Maria Altmann and her co-heirs after their long legal battle against Austria (see Republic of Austria v. Altmann). Altmann's fight to regain her family's paintings has been the subject of a number of documentary films, including Adele's Wish. Her struggle also became the subject of the dramatic film the Woman in Gold, a movie inspired by Stealing Klimt, the documentary featuring Maria Altmann herself. The portrait of Adele Bloch-Bauer II was sold at auction in November 2006 for $88 million, the third-highest priced piece of art at auction at the time. The Apple Tree I (c. 1912) sold for $33 million, Birch Forest (1903) sold for $40.3 million, and Houses in Unterach on Lake Atter (1916) sold for $31 million. Collectively, the five restituted paintings netted more than $327 million. The painting Litzlberg am Attersee was auctioned for $40.4 million November 2011.

Klimt's last painting, Lady with a Fan (Dame mit Fächer, 1918), was sold by Sotheby's in London on 27 June 2023 for UK£85.3M (US$108.4) to a Hong Kong collector, the highest-priced artwork ever sold at auction in Europe.

Visual art
According to the writer Frank Whitford: "Klimt of course, is an important artist—he's a very popular artist—but in terms of the history of art, he's a very unimportant artist. Although he sums up so much in his work, about the society in which he found himself—in art historical terms his effect was negligible. So he's an artist really in a cul-de-sac." Klimt's work had a strong influence on the paintings of Egon Schiele, with whom he would collaborate to found the Kunsthalle (Hall of Art) in 1917, to try to keep local artists from going abroad. Artists who reinterpreted Klimt's work include Slovak artist Rudolf Fila.

Legacy
Already during his lifetime Klimt influenced other artists, such as the Italian Liberty style artist Galileo Chini (1873–1956). Klimt was exhibited at the 1910 Venice Biennale. Chini and Vittorio Zecchin (1878–1947) created a number of panels in 1914 for the Venice Hotel Terminus called "La Primavera" and "Mille e una notte". These were later exhibited in the Boncompagni Ludovisi Decorative Art Museum.

In 1972 the Vienna State Opera presented a new production of Salome, an opera by Oscar Wilde and Richard Strauss, in a Klimt inspired stage setting and costumes by Jürgen Rose. This production, directed by Boleslaw Barlog and first conducted by Karl Böhm, became extremely popular and stayed in the repertoire for nearly fifty years. It was shown in 265 performances and went on tour to Florence, Washington and twice to Japan.

In 2006 an Austrian art-house biographical film about his life, Klimt, was released with John Malkovich in the lead role. In 2008 the Couturier John Galliano found inspiration for the Christian Dior Spring-Summer 2008 haute couture collection in Klimt's work. The 2019 collection of designer Alexander McQueen was partially inspired by Klimt.

Gustav Klimt and his work have been the subjects of many collector coins and medals, such as the 100 Euro Painting Gold Coin, issued on 5 November 2003, by the Austrian Mint. The obverse depicts Klimt in his studio with two unfinished paintings on easels. Tawny Chatmon, an American photographic artist known for her portraits of Black children overlaid with gold leaf and paint, has sought to place Black figures in glittering gold clothing inspired by Klimt's lavish portraits of white Viennese women.

Elements of the portrait First Lady Michelle Obama, by Amy Sherald in 2018, have been noted by art critics to have been influenced by Klimt, in particular the Portrait of Adele Bloch-Bauer I. One commentator noted the similarity to fashion designed by Klimt's muse Emilie Louise Flöge.

Commemoration of 150th anniversary of birth
The city of Vienna, Austria had many special exhibitions commemorating the 150th anniversary of Klimt's birth in 2012.

Google commemorated Gustav Klimt with a Google doodle celebrating Klimt's painting The Kiss on his 150th birthday, 14 July 2012.

In 2012, the Austrian Mint began a five-coin gold series to coincide with the 150th anniversary of Klimt's birth. The first 50 Euro gold coin was issued on 25 January 2012 and featured a portrait of Klimt on the obverse and a portion of his painting of Adele Bloch-Bauer.

Gustav Klimt Foundation
In 2013, the Gustav Klimt Foundation was set up by Ursula Ucicky, widow of Klimt's illegitimate son Gustav Ucicky, with a mission to "preserve and disseminate Gustav Klimt's legacy." The managing director of the Leopold Museum, Peter Weinhäupl, was appointed as Chairman of the foundation. As a reaction, the museum's director Tobias G. Natter resigned in protest, citing Ucicky's past as a Nazi propaganda film-maker.

Nazi looted art: restitution and litigation
In 2000, a government committee recommended that Klimt's Lady with Hat and Feather Boa, in Belvedere Museum in Vienna, be restituted to the heirs of the Jewish family that had owned it before the Nazi Anschluss.

National Public Radio reported on 17 January 2006 that "The Austrian National Gallery is being compelled by a national arbitration board to return five paintings by Gustav Klimt to a Los Angeles based woman, the heir of a Jewish family that had its art stolen by the Nazis. The paintings are estimated to be worth at least $150 million." This incident, involving Maria Altmann, was subsequently made into the Hollywood movie Woman in Gold, starring Helen Mirren.

Later that year, the most notable of the five paintings, 1907's Portrait of Adele Bloch-Bauer I (also known as “The Woman in Gold”), was sold at auction for $135 million (at the time, the highest price ever paid for a single painting). The winning bidder was art collector Ronald S. Lauder, founder of Neue Galerie in New York, where it remains on display.

In 2009 the Lentos Art Museum in Linz, Austria restituted Klimt's Portrait of Ria Munk III (Frauenbildnis) to the heirs of Aranka Munk, a Jewish art collector in Vienna who was murdered in the Holocaust. The looted portrait was of her daughter.

In 2021 the French minister of culture announced that the only Klimt in France's national collections was Nazi loot which should be restituted to the heirs of the Jewish family that had been persecuted by Nazis. Rosebushes Under the Trees, painted in 1905, had been owned by Nora Stiasi, who had been forced to sell it before being murdered by the Nazis. It is currently hanging in France's Orsay Museum which purchased it from Swiss art dealer Peter Nathan in 1980.

A similar painting, also painted by Klimt and known as Apple Trees II, which was also Nazi loot, was mistakenly returned to the wrong family by the Austrian authorities.

Other Klimts that have been the object of ownership battles owing to a history of Nazi looting include the Beethoven Frieze, Water Snakes II,  Blooming Meadow and Portrait of Gertrude Lowe.

In 2023, Ronald S. Lauder agreed to restitute and repurchase Klimt's “The Black Feather Hat,” which had belonged to Irene Beran, before she fled the Nazis. The painting's provenance was unclear after it left Beran's collection, resurfacing in Stuttgart in connection to the Nazi Friedrich Welz. Beran’s mother and former husband Philip were murdered by the Nazis after being deported to the Theresienstadt concentration camp.

title: Gustav Klimt


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Groucho Marx

Julius Henry "Groucho" Marx (October 2, 1890 – August 19, 1977) was an American comedian, actor, writer, and singer who performed in films and vaudeville on television, radio, and the stage. He was a master of quick wit and is considered one of America's greatest comedians.

He made 13 feature films as a team with his brothers, who performed under the name the Marx Brothers, of whom he was the third born. He also had a successful solo career, primarily on radio and television, most notably as the host of the game show You Bet Your Life.

His distinctive appearance, carried over from his days in vaudeville, included quirks such as an exaggerated stooped posture, spectacles, cigar, and a thick greasepaint mustache (later a real mustache) and eyebrows. These exaggerated features resulted in the creation of one of the most recognizable and ubiquitous novelty disguises, known as Groucho glasses: a one-piece mask consisting of horn-rimmed glasses, a large plastic nose, bushy eyebrows and mustache.

Early life
Julius Henry Marx was born on October 2, 1890, in Manhattan, New York City. Marx stated that he was born in a room above a butcher's shop on East 78th Street, "Between Lexington and Third", as he told Dick Cavett in a 1969 television interview. The Marx children grew up in a turn-of-the-century building at 179 East 93rd Street off Lexington Avenue in a neighborhood now known as Carnegie Hill on the Upper East Side of the borough of Manhattan. His older brother Harpo, in his memoir Harpo Speaks, called the building "the first real home I knew". It was populated with European immigrants, mostly artisans. Just across the street were the oldest brownstones in the area, owned by people including the well-connected Loew Brothers and William Orth. The Marx family lived there "for about 14 years", Groucho also told Cavett.

Marx's family was Jewish. His mother was Miene "Minnie" Schoenberg, whose family came from Dornum in northern Germany when she was 16 years old. His father was Simon "Sam" Marx, who changed his name from Marrix, and was called "Frenchie" by his sons throughout his life, because he and his family came from Alsace in France. Minnie's brother was Al Schoenberg, who shortened his name to Al Shean when he went into show business as half of Gallagher and Shean, a noted vaudeville act of the early 20th century. According to Marx, when Shean visited, he would throw the local waifs a few coins so that when he knocked at the door he would be surrounded by adoring fans. Marx and his brothers respected his opinions and asked him on several occasions to write some material for them.

Minnie Marx did not have an entertainment industry career but had intense ambition for her sons to go on the stage like their uncle. While pushing her second son Leonard (Chico Marx) in piano lessons, she found that Julius had a pleasant soprano voice and the ability to remain on key. Julius's early career goal was to become a doctor, but the family's need for income forced him out of school at the age of twelve. By that time Julius had become a voracious reader, particularly fond of Horatio Alger. Marx continued to overcome his lack of formal education by becoming very well-read.

After a few stabs at entry-level office work and jobs suitable for adolescents, Marx took to the stage as a boy singer with the Gene Leroy Trio, debuting at the Ramona Theatre in Grand Rapids, Michigan, on July 16, 1905. Marx reputedly claimed that he was "hopelessly average" as a vaudevillian, but this was typical Marx, wisecracking in his true form. By 1909, Minnie Marx had assembled her sons into an undistinguished vaudeville singing group billed as "The Four Nightingales". The brothers Julius, Milton (Gummo Marx) and Arthur (originally Adolph, but Harpo Marx from 1911) and another boy singer, Lou Levy, traveled the U.S. vaudeville circuits to little fanfare. After exhausting their prospects in the East, the family moved to La Grange, Illinois, to play the Midwest. After a particularly dispiriting performance in Nacogdoches, Texas, Julius, Milton, and Arthur began cracking jokes onstage for their own amusement. Much to their surprise, the audience liked them better as comedians than as singers. They modified the then-popular Gus Edwards comedy skit "School Days" and renamed it "Fun In Hi Skule". The Marx Brothers performed variations on this routine for the next seven years.

For a time in Vaudeville, all the brothers performed using ethnic accents. Leonard, the oldest, developed the Italian accent he used as Chico Marx to convince some roving bullies that he was Italian, not Jewish. Arthur, the next oldest, donned a curly red wig and became "Patsy Brannigan", a stereotypical Irish character. His discomfort when speaking on stage led to his uncle Al Shean's suggestion that he stop speaking altogether and play the role in mime. Julius Marx's character from "Fun In Hi Skule" was an ethnic German, so Julius played him with a German accent. After the sinking of the RMS Lusitania in 1915, public anti-German sentiment was widespread, and Marx's German character was booed, so he dropped the accent and developed the fast-talking wise-guy character that became his trademark.

The Marx Brothers became the biggest comedic stars of the Palace Theatre in New York, which billed itself as the "Valhalla of Vaudeville". Brother Chico's deal-making skills resulted in three hit plays on Broadway. No other comedy routine had ever so infected the Broadway circuit. All of this stage work predated their Hollywood career. By the time the Marxes made their first movie, they were already major stars with sharply honed skills; and by the time Groucho was relaunched to stardom in television on You Bet Your Life, he had been performing successfully for half a century.

Vaudeville
Marx started his career in vaudeville in 1905 when he joined up with an act called The Leroy Trio. He answered a newspaper want ad by a man named Robin Leroy who was looking for a boy to join his group as a singer. Marx was hired along with fellow vaudeville actor Johnny Morris. Through this act, Marx got his first taste of life as a vaudeville performer. In 1909, Marx and his brothers had become a group act, at first called The Three Nightingales and later The Four Nightingales. The brothers' mother, Minnie Marx, was the group's manager, putting them together and booking their shows. The group had a rocky start, performing in less than adequate venues and rarely, if ever, being paid for their performances. Eventually brother Milton (Gummo) left the act to serve in World War I and was replaced by Herbert (Zeppo), and the group became known as the Marx Brothers. Their first successful show was Fun In Hi Skule (1910).

Hollywood
Marx made 26 movies, including 13 with his brothers Chico and Harpo. Marx developed a routine as a wisecracking hustler with a distinctive chicken-walking lope, an exaggerated greasepaint mustache and eyebrows and an ever-present cigar, improvising insults to stuffy dowagers (frequently played by Margaret Dumont) and anyone else who stood in his way. As the Marx Brothers, he and his brothers starred in a series of popular stage shows and movies.

Their first movie was a silent film made in 1921 that was never released, and is believed to have been destroyed at the time. A decade later, the team made two of their Broadway hits—The Cocoanuts and Animal Crackers —into movies. Other successful films were Monkey Business, Horse Feathers, Duck Soup and A Night at the Opera. One quip from Marx concerned his response to Sam Wood, the director of A Night at the Opera. Furious with the Marx Brothers' ad-libs and antics on the set, Wood yelled in disgust: "You can't make an actor out of clay." Marx responded, "Nor a director out of Wood."

Marx also worked as a radio comedian and show host. One of his earliest stints was a short-lived series in 1932, Flywheel, Shyster and Flywheel, costarring Chico. Though most of the scripts and discs were thought to have been destroyed, all but one of the scripts were found in 1988 in the Library of Congress. In 1947, Marx was asked to host a radio quiz program You Bet Your Life. It was broadcast by ABC and then CBS before moving to NBC. It moved from radio to television on October 5, 1950, and ran for eleven years. It was largely sponsored by DeSoto automobiles and Marx sometimes appeared in the commercials. Filmed before an audience, the show consisted of Marx bantering with the contestants and ad-libbing jokes before briefly quizzing them. The announcer for the show was George Fenneman. The show was responsible for popularizing the phrases "Say the secret word and the duck will come down and give you fifty dollars," "Who's buried in Grant's Tomb?" and "What color is the White House?" (asked to reward a losing contestant a consolation prize). Throughout his career Marx introduced a number of memorable songs in films, including "Hooray for Captain Spaulding" and "Hello, I Must Be Going", in Animal Crackers, "Whatever It Is, I'm Against It", "Everyone Says I Love You" and "Lydia the Tattooed Lady". Frank Sinatra, who once quipped that the only thing he could do better than Marx was sing, made a film with Marx and Jane Russell in 1951 entitled Double Dynamite.

Mustache, eyebrows, and walk
In public and off-camera, Harpo and Chico were hard to recognize without their wigs and costumes, and it was almost impossible for fans to recognize Groucho without his trademark eyeglasses, fake eyebrows, and mustache.

The greasepaint mustache and eyebrows originated spontaneously prior to a vaudeville performance in the early 1920s when he did not have time to apply the pasted-on mustache he had been using (or, according to his autobiography, simply did not enjoy the removal of the mustache because of the effects of tearing an adhesive bandage off the same patch of skin every night). After applying the greasepaint mustache, a quick glance in the mirror revealed his natural hair eyebrows were too undertoned and did not match the rest of his face, so Marx added the greasepaint to his eyebrows and headed for the stage. The absurdity of the greasepaint was never discussed on-screen, but in a famous scene in Duck Soup, where both Chicolini (Chico) and Pinky (Harpo) disguise themselves as Groucho, they are briefly seen applying the greasepaint, implicitly answering any question a viewer might have had about where he got his mustache and eyebrows.

Marx was asked to apply the greasepaint mustache once more for You Bet Your Life when it came to television, but he refused, opting instead to grow a real one, which he wore for the rest of his life. By this time, his eyesight had weakened enough for him to actually need corrective lenses; before then, his eyeglasses had merely been a stage prop. He debuted this new, and now much-older, appearance in Love Happy, the Marx Brothers's last film as a comedy team.

Marx did paint the old character mustache over his real one on a few rare occasions, including a TV sketch with Jackie Gleason on the latter's variety show in the 1960s (in which they performed a variation on the song "Mister Gallagher and Mister Shean," co-written by Marx's uncle Al Shean) and the 1968 Otto Preminger film Skidoo. In his late 70s at the time, Marx remarked on his appearance: "I looked like I was embalmed." He played a mob boss called "God" and, according to Marx, "both my performance and the film were God-awful!"

The exaggerated walk, with one hand on the small of his back and his torso bent almost 90 degrees at the waist, was a parody of a fad from the 1880s and 1890s. Fashionable young men of the upper classes would affect a walk with their right hand held fast to the base of their spines, and with a slight lean forward at the waist and a very slight twist toward the right with the left shoulder, allowing the left hand to swing free with the gait. Edmund Morris, in his biography The Rise of Theodore Roosevelt, describes a young Roosevelt, newly elected to the State Assembly, walking into the House Chamber for the first time in this trendy, affected gait, somewhat to the amusement of the older and more rural members. Marx exaggerated this fad to a marked degree, and the comedic effect was enhanced by how out of date the fashion was by the 1940s and 1950s.

Personal life
Marx's three marriages ended in divorce. His first wife was chorus girl Ruth Johnson (m. 1920–1942). He was 29 and she was 19 at the time of their wedding. The couple had two children, Arthur Marx and Miriam Marx. His second wife was Kay Marvis (m. 1945–1951), née Catherine Dittig, former wife of Leo Gorcey. Marx was 54 and Kay was 21 at the time of their marriage. They had a daughter, Melinda Marx. His third wife was actress Eden Hartford (m. 1954–1969). He was 64 and she was 24 at the time of their wedding.

During the early 1950s, Marx described his perfect woman: "Someone who looks like Marilyn Monroe and talks like George S. Kaufman."

Marx was denied membership in an informal symphonietta of friends (including Harpo) organized by Ben Hecht, because he could play only the mandolin. When the group began its first rehearsal at Hecht's home, Marx rushed in and demanded silence from the "lousy amateurs". The musicians discovered him conducting the Los Angeles Symphony Orchestra in a performance of the overture to Tannhäuser in Hecht's living room. Marx was allowed to join the symphonietta.

Later in life, Marx would sometimes note to talk show hosts, not entirely jokingly, that he was unable to actually insult anyone, because the target of his comment would assume that it was a Groucho-esque joke, and would laugh.

Despite his lack of formal education, he wrote many books, including his autobiography, Groucho and Me, (1959) and Memoirs of a Mangy Lover (1963). He was a friend of such literary figures as Booth Tarkington, T. S. Eliot, and Carl Sandburg. Much of his personal correspondence with those and other figures is featured in the book The Groucho Letters (1967) with an introduction and commentary on the letters written by Marx, who donated his letters to the Library of Congress. His daughter Miriam published a collection of his letters to her in 1992 titled Love, Groucho.

In Life with Groucho: A Son's Eye View, Arthur Marx relates that in his latter years, Groucho increasingly referred to himself by the name Hackenbush, referring to the character of that name he played in A Day at the Races.

Marx made serious efforts to learn to play the guitar. In the 1932 film Horse Feathers, he performs the film's love theme "Everyone Says I Love You" for costar Thelma Todd on a Gibson L-5.

In July 1937, an America-vs.-England pro-celebrity tennis doubles match was organized, featuring Marx and Ellsworth Vines playing against Charlie Chaplin and Fred Perry, to open the new clubhouse at the Beverly Hills Tennis Club. Marx appeared on court with twelve rackets and a suitcase, leaving Chaplin—who took tennis seriously—bemused, before he asked what was in it. Marx asked Chaplin what was in his, with Chaplin responding he didn't have one. Marx replied, "What kind of tennis player are you?" After playing only a few games, Marx sat on the court and unpacked an elaborate picnic lunch from his suitcase.

Irving Berlin quipped: "The world would not be in such a snarl, had Marx been Groucho instead of Karl." In his book The Groucho Phile, Marx says "I've been a liberal Democrat all my life", and "I frankly find Democrats a better, more sympathetic crowd.... I'll continue to believe that Democrats have a greater regard for the common man than Republicans do". However, during an episode of Firing Line on July 7, 1967, Marx admitted to voting for Wendell Willkie, the Republican candidate for president in 1940, over Franklin D. Roosevelt, stating that he did not believe that any man should run for more than two terms. Marx mentioned in a television interview that he disliked the women's liberation movement.

Marx lived with friend and fellow actor Bud Cort (for about seven out of nine years) until Groucho's death. The two had met through family friends and sharing the same psychiatrist. When asked in an interview, "Was Groucho in love with you?" Cort responded, "I used to say he was my fairy godfather. He did love me, and I loved him." Cort states that Marx died in his arms.

You Bet Your Life
Marx's radio career was not as successful as his work on stage and in film, though historians such as Gerald Nachman and Michael Barson suggest that, in the case of the single-season Flywheel, Shyster, and Flywheel (1932), the failure may have been a combination of a poor time slot and the Marx Brothers' returning to Hollywood to make another film.

In the mid-1940s, he weathered a depressing lull in his career. His radio show Blue Ribbon Town had failed, and he was unable to sell his proposed sitcom The Flotsam Family only to see it become a huge hit as The Life of Riley with William Bendix in the title role. By that time, the Marx Brothers as film performers had officially retired.

Marx was scheduled to appear on a radio show with Bob Hope. Annoyed that he was made to wait in the green room for 40 minutes, he went on the air in a foul mood. Hope started by saying "Why, Groucho Marx! Groucho, what are you doing out here in the desert?" Marx retorted, "Huh, desert, I've been sitting in the dressing room for forty minutes! Some desert alright ...". Marx continued to ignore the script, ad-libbing at length, and took it well beyond its allotted time slot.

Listening in on the show was producer John Guedel, who had a brainstorm. He approached Marx about doing a quiz show, to which Marx derisively retorted, "A quiz show? Only actors who are completely washed up resort to a quiz show!" Undeterred, Guedel proposed that the quiz would be only a backdrop for Marx's interviews of people, and the storm of ad-libbing that they would elicit. Marx replied, "Well, I've had no success in radio, and I can't hold on to a sponsor. At this point, I'll try anything!" You Bet Your Life debuted in October 1947 on ABC radio (which aired it from 1947 to 1949), sponsored by costume jewelry manufacturer Allen Gellman; and then on CBS (1949–50), and finally NBC. The show was on radio only from 1947 to 1950; on both radio and television from 1950 to 1960; and on television only, from 1960 to 1961. The show proved a huge hit, being one of the most popular on television by the mid-1950s, garnering a number one rating in 1953. With George Fenneman as his announcer and straight man, Marx entertained his audiences with rapier wit and improvised conversation with his guests. Since You Bet Your Life was mostly ad-libbed and unscripted — although writers did pre-interview the guests and feed Marx ready-made lines in advance — the producers insisted that the network prerecord it instead of it being broadcast live. There were three reasons for this: prerecording provided Marx with time to fish around for funny exchanges, any intervening dead spots could be edited out; and most importantly to protect the network from what was considered risqué, since Marx was a notorious loose cannon and known to say almost anything. The television show ran for 11 seasons until it was canceled in 1961. Ironically longtime major sponsor, automobile marque DeSoto went out of business for declining sales that same year. For the DeSoto ads, Marx would sometimes say: "Tell 'em Groucho sent you", or "Try a DeSoto before you decide." In the mid-1970s, episodes of the show were syndicated and rebroadcast as The Best of Groucho.

The program's theme music was an instrumental version of "Hooray for Captain Spaulding," which became increasingly identified as Marx's personal theme song. A recording of the song with Marx and the Ken Lane singers with an orchestra directed by Victor Young was released in 1952. Another recording made by Marx during this period was "The Funniest Song in the World," released on the Young People's Records label in 1949. It was a series of five original children's songs with a connecting narrative about a monkey and his fellow zoo creatures.

One of Marx's most oft-quoted remarks may have occurred during a 1947 radio episode. Marx was interviewing Charlotte Story, who had borne 20 children. When Marx asked why she had chosen to raise such a large family, Mrs. Story is said to have replied, "I love my husband," to which Marx responded, "I love my cigar, but I take it out of my mouth once in a while." The remark was judged too risqué to be aired, according to the anecdote, and was edited out before broadcast. Charlotte Story and her husband Marion, indeed parents of 20 children, were real people who appeared on the program. Audio recordings of the interview exist, and a reference to cigars is made ("With each new kid, do you go around passing out cigars?"), but there is no evidence of the claimed remark. "I get credit all the time for things I never said," Marx told Roger Ebert in 1972. "You know that line in You Bet Your Life? The guy says he has seventeen kids and I say, 'I smoke a cigar, but I take it out of my mouth occasionally'? I never said that." Marx's 1976 memoir recounts the episode as fact, but co-writer Hector Arce relied mostly on sources other than Marx himself—who was by then in his mid eighties, in ill health and mentally compromised—and was probably unaware that Marx had specifically denied making the observation. Head writer Bernie Smith recalled in a 1996 interview that the remark was indeed made—but again, well after the fact.

In 1946, as part of the marketing campaign for the Marx Brothers film A Night in Casablanca, Marx created a storyline that Warner Bros. Pictures threatened to sue him, contending that that title was too similar to their 1942 film Casablanca. Groucho wrote open letters "responding" to the four Warner brothers, including one in which he questions their own use of various words, such as: wondering if "in 1471, Ferdinand Balboa Warner, your great-great-grandfather,... stumbled on the shores of Africa and... named it Casablanca"; suggesting that "[David] Burbank's survivors aren't too happy with the fact that" Warner Bros. Burbank, California studios are called their "Burbank studios"; and even suggesting a Marx Brothers legal action addressing "What about 'Warner Brothers'? ... Professionally, we were brothers long before you were."

Other work
On August 5, 1948, Marx's comedy play April Fool premiered at the Lobero Theatre in Santa Barbara, California, to mediocre reviews. Penned by Groucho Marx and Norman Krasna, the play was rewritten and retitled Time for Elizabeth, and opened at the Fulton Theatre in New York City on September 27, 1948, where it closed after only eight performances.

By the time You Bet Your Life debuted on TV on October 5, 1950, Marx had grown a real mustache (which he had already sported earlier in the films Copacabana and Love Happy).

During a tour of Germany in 1958, accompanied by then-wife Eden, daughter Melinda, Robert Dwan and Dwan's daughter Judith, he climbed a pile of rubble that marked the site of Adolf Hitler's bunker, the site of Hitler's death, and performed a two-minute Charleston. He later remarked to Richard J. Anobile in The Marx Brothers Scrapbook, "Not much satisfaction after he killed six million Jews!"

In 1960, Marx, a lifelong devotee of the comic operas of Gilbert and Sullivan, appeared as Ko-Ko, the Lord High Executioner, in a televised production of The Mikado on NBC's The Bell Telephone Hour. A clip of this is in rotation on Classic Arts Showcase.

Another TV show, Tell It to Groucho, premiered January 11, 1962, on CBS, but only lasted five months. On October 1, 1962, Marx, after acting as occasional guest host of The Tonight Show during the six-month interval between Jack Paar and Johnny Carson, introduced Carson as the new host.

In 1964, Marx starred in the "Time for Elizabeth" episode of Bob Hope Presents the Chrysler Theatre, a truncated version of a play that he and Norman Krasna wrote in 1948.

In 1965, Marx starred in a weekly show for British TV titled Groucho, broadcast on ITV. The program was along similar lines to You Bet Your Life, with Keith Fordyce taking on the Fenneman role. However, it was poorly received and lasted only 11 weeks.

Marx appeared as a gangster named God in the comedy movie Skidoo (1968), directed by Otto Preminger, and starring Jackie Gleason and Carol Channing. It was released by the studio where the Marx Brothers began their film career, Paramount Pictures. The film received almost universally negative reviews. Writer Paul Krassner published a story in the February 1981 issue of High Times, relating how Marx prepared for the LSD-themed movie by taking a dose of the drug in Krassner's company, and had a moving, largely pleasant experience.

Marx developed friendships with rock star Alice Cooper—the two were photographed together for Rolling Stone magazine—and television host Dick Cavett, becoming a frequent guest on Cavett's late-night talk show, even appearing in a one-man, 90-minute interview. He befriended Elton John when the British singer was staying in California in 1972, insisting on calling him "John Elton". According to writer Philip Norman, when Marx jokingly pointed his index fingers as if holding a pair of six-shooters, Elton John put up his hands and said, "Don't shoot me, I'm only the piano player," thereby naming the album he had just completed. A film poster for the Marx Bros. movie Go West is visible on the album cover photograph as an homage to Marx. Elton John accompanied Marx to a performance of Jesus Christ Superstar. As the lights went down, Marx called out, "Does it have a happy ending?" And during the Crucifixion scene, he declared, "This is sure to offend the Jews." Marx's previous work regained popularity; new books of transcribed conversations were published by Richard J. Anobile and Charlotte Chandler. In a BBC interview in 1975, Marx called his greatest achievement having a book selected for cultural preservation in the Library of Congress. In a Cavett interview in 1971, Marx said being published in The New Yorker under his own name, Julius Henry Marx, meant more than all the plays he appeared in. As a man who never had formal schooling, to have his writings declared culturally important was a point of great satisfaction.

As he passed his 81st birthday in 1971, Marx became increasingly frail, physically and mentally, as a result of a succession of minor strokes and other health issues. In 1972, largely at the behest of his companion Erin Fleming, Marx staged a live one-man show at Carnegie Hall that was later released as a double album, An Evening with Groucho, on A&M Records. He also made an appearance in 1973 on a short-lived variety show hosted by Bill Cosby. Fleming's influence on Marx was controversial. Some close to Marx believed that she did much to revive his popularity, and the relationship with a younger woman boosted his ego and vitality. Others described her as a Svengali, exploiting an increasingly senile Marx in pursuit of her own stardom. Marx's children, particularly Arthur, felt strongly that Fleming was pushing their weak father beyond his physical and mental limits. Writer Mark Evanier concurred.

On the 1974 Academy Awards telecast (which was Groucho Marx's final major public appearance), Jack Lemmon presented him with an honorary Academy Award to a standing ovation. The award honored Harpo, Chico, and Zeppo as well: "in recognition of his brilliant creativity and for the unequalled achievements of the Marx Brothers in the art of motion picture comedy". Noticeably frail, Marx took a bow for his deceased brothers, saying that "I wish that Harpo and Chico could be here to share with me this great honor." (Zeppo, still alive, was in the audience). He also praised the late Margaret Dumont as a great straight woman who never understood any of his jokes. Marx's final appearance was a brief sketch with George Burns in the Bob Hope television special Joys (a parody of the 1975 movie Jaws) in March 1976. His health continued to decline the following year; when his younger brother Gummo died at age 83 on April 21, 1977, Marx was never told for fear of eliciting still further deterioration of his health.

Marx maintained his irrepressible sense of humor to the very end, however. George Fenneman, his radio and TV announcer, good-natured foil, and lifelong friend, often related a story of one of his final visits to Marx's home: When the time came to end the visit, Fenneman lifted Marx from his wheelchair, put his arms around his torso, and began to "walk" the frail comedian backwards across the room towards his bed. As he did, he heard a weak voice in his ear: "Fenneman," whispered Marx, "you always were a lousy dancer." When a nurse approached him with a thermometer during his final hospitalization, explaining that she wanted to see if he had a temperature, he responded, "Don't be silly—everybody has a temperature." Actor Elliott Gould recalled a similar incident: "I recall the last time I saw Groucho, he was in the hospital, and he had tubes in his nose and what have you," he said. "And when he saw me, he was weak, but he was there; and he put his fingers on the tubes and played them like it was a clarinet. Groucho played the tubes for me, which brings me to tears."

Death
Marx was hospitalized at Cedars-Sinai Medical Center with pneumonia on June 22, 1977, and died there nearly two months later at the age of 86 on August 19, four months after Gummo's death. Media coverage of Groucho's death and legacy was overshadowed by the sudden death of Elvis Presley three days previously.

Actor Bud Cort, who lived with Marx for most of the last 9 years until Marx's death stated that '[Marx] died in my arms'.

His body was cremated and the ashes are interred in the Eden Memorial Park Cemetery in Los Angeles. He was survived by his three children and younger brother Zeppo, who outlived him by two years. His gravestone bears no epitaph but in one of his last interviews he suggested one: "Excuse me, I can't stand up."

Litigation over his estate lasted into the 1980s. Eventually, his three children were awarded the bulk of the estate, while Erin Fleming, his companion during his final years, was ordered to repay $472,000.

Legacy
Groucho Marx was considered the most recognizable of the Marx Brothers. Groucho-like characters and references have appeared in popular culture both during and after his life, some aimed at audiences who may never have seen a Marx Brothers movie. Marx's trademark eyeglasses, nose, mustache, and cigar have become icons of comedy—glasses with fake noses and mustaches (referred to as "Groucho glasses", "nose-glasses," and other names) are sold by novelty and costume shops around the world.

The cover of The Firesign Theatre's 1969 album, How Can You Be in Two Places at Once When You're Not Anywhere at All, subtitled All Hail Marx and Lennon, features images of Groucho Marx and John Lennon.

Nat Perrin, close friend of Groucho Marx and writer of several Marx Brothers films, inspired John Astin's portrayal of Gomez Addams on the 1960s TV series The Addams Family with similarly thick mustache, eyebrows, sardonic remarks, backward logic, and ever-present cigar (pulled from his breast pocket already lit).

Minnie's Boys, a 1970 Broadway musical, focused on the younger years of Marx (played by Lewis J. Stadlen), his brothers, and his mother (played by Shelley Winters). Marx received credit as the show's advisor and appeared on The Dick Cavett Show to promote the production.

In 1972, at Cannes, Marx was made a Commander in the French Ordre des Arts et des Lettres, an honor he was very proud of.

A meeting with Elton John led to a press photo of Marx pointing both of his index fingers and thumbs at Elton like revolvers. John's spontaneous response of holding up his hands and replying, "Don't shoot me! I'm only the piano player!" was so amusing that Elton John reused it as the title of a 1973 album. An added Marx homage was that a poster for the Marx Brothers' movie Go West was included on the cover art. Marx was also known to influence the Warner Bros. cartoon character Bugs Bunny, who recited his famous line "Of course you realize this means war!" in two of his cartoons in the Looney Tunes series, Long-Haired Hare and Bully for Bugs, when his antagonist has offended him.

Two albums by British rock band Queen, A Night at the Opera (1975) and A Day at the Races (1976), are named after Marx Brothers films. In March 1977, Marx invited Queen to visit him in his Los Angeles home; there they performed "'39" a cappella.

A long-running ad campaign for Vlasic Pickles features an animated stork that imitates Marx's mannerisms and voice. On the famous Hollywood Sign in California, one of the "O"s is dedicated to Marx. Alice Cooper contributed over $27,000 to remodel the sign, in memory of his friend.

Actor Frank Ferrante has performed as Groucho Marx on stage since 1986. He continues to tour under rights granted by the Marx family in a show entitled An Evening with Groucho in theaters throughout the United States and Canada with supporting actors and piano accompanist Jim Furmston. In the late 1980s, Ferrante starred as Marx in the off-Broadway and London show Groucho: A Life in Revue, penned by Marx's son Arthur. Ferrante portrayed the comedian from age 15 to 85. The show was later filmed for PBS in 2001. In 1982, Gabe Kaplan filmed a version of the same show, entitled Groucho.

In the Hungarian dubbed version of Woody Allen's film Annie Hall, a famous quotation told by Alvy Singer (Allen) at the beginning of the film is not attributed to Groucho Marx as in the original, but to Buster Keaton. The reason was that in communist Hungary, the name 'Marx' was associated with Karl Marx, and the name was not allowed to be used in such a light, humorous context.

Woody Allen's 1996 musical Everyone Says I Love You, in addition to being named for one of Marx's signature songs, ends with a Groucho-themed New Year's Eve party in Paris, which some of the stars, including Allen and Goldie Hawn, attend in full Groucho costume. The highlight of the scene is an ensemble song-and-dance performance of "Hooray for Captain Spaulding"—done entirely in French.

In 2008, Minnie's Boys was remounted Off-Broadway with Erik Liberman as Groucho and Pamela Myers as Minnie Marx. Liberman later played Marx in a musical based on Flywheel, Shyster, and Flywheel called The Most Ridiculous Thing You Ever Hoid (2010) and at the Obama White House.

Groucho, a supporting character in the Italian horror comics series Dylan Dog, is a Groucho Marx impersonator whose character became his permanent personality, and he works with Dylan Dog as his professional sidekick. In the English-language version by Dark Horse Comics, to avoid legal complications regarding Groucho Marx's estate, the art was altered so that Groucho no longer sports the Marx brother's signature moustache, and was renamed Felix.

Throughout the M*A*S*H television series, several Groucho homage traits are mirrored in Alan Alda's portrayal of Hawkeye, including the 1972 season one episode "Yankee Doodle Doctor" that had a full Groucho impression complete with nose, moustache and glasses.

In 2023, notable artist William Kentridge included a drawing of Marx in his solo museum exhibition at The Broad in Los Angeles.

Short subjects

 * Hollywood on Parade No. 11 (1933)
 * Screen Snapshots Series 16, No. 3 (1936)
 * Sunday Night at the Trocadero (1937)
 * Screen Snapshots: The Great Al Jolson (1955)
 * Showdown at Ulcer Gulch (1956) (voice)
 * Screen Snapshots: Playtime in Hollywood (1956)

Books by Groucho Marx

 * Beds (Farrar & Rinehart, 1930)
 * Beds: revised & updated edition (Bobbs-Merrill, 1976 ISBN 0-672-52224-1)
 * Many Happy Returns: An Unofficial Guide to Your Income-Tax Problems Illustrated by Otto Soglow (Simon & Schuster, 1942)
 * Groucho and Me (B. Geis Associates, 1959)
 * Memoirs of a Mangy Lover (B. Geis Associates, 1963)
 * The Groucho Letters: Letters From and To Groucho Marx (Simon & Schuster, 1967, ISBN 0-306-80607-X)
 * The Marx Bros, Scrapbook with Richard Anobile (Darien House/W W Norton, 1973, ISBN 0-393-08371-3)
 * The Secret Word Is Groucho with Hector Arce (Putnam, 1976)
 * The Groucho Phile: An Illustrated Life by Groucho Marx with Hector Arce (Galahad, 1976, ISBN 0-88365-433-4)

license: Creative Commons - Attribution Share-Alike - https://creativecommons.org/licenses/by-sa/4.0/

title: Groucho Marx


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Talk:Game theory

GT in epidemiology
In this edit I partially restored this edit which was reverted in this edit. A review article of the use of tool X in field Y is exactly the correct type of WP:RS to establish a claim of the form "X is a commonly used tool in Y field". I also added in coverage in the popular media for good measure. It certainly looks to me like game theory is used enough in epidemiology to warrant including a section about it in this article. The second half of the material that was reverted, in contrast, is WP:UNDUE focus on a single paper for inclusion in a general encyclopedia article on game theory, and I have not restored that. - Astrophobe  (talk) 16:10, 13 September 2021 (UTC)

Nobel Prizes
"As of 2014, with the Nobel Memorial Prize in Economic Sciences going to game theorist Jean Tirole, eleven game theorists have won the economics Nobel Prize. John Maynard Smith was awarded the Crafoord Prize for his application of evolutionary game theory."

This is pretty out of date. If I'm not mistaken the 2016 and 2020 Nobel Prizes were awarded for work in Game Theory. If someone is able to confirm this understanding, I suggest an edit. — Preceding unsigned comment added by 131.217.255.209 (talk) 23:57, 14 October 2021 (UTC)

Introduction should mention John Nash
The introduction mentions von Neumann and Morgenstern, but doesn't mention John Nash or Nash equilibria. It probably should, though. Macoroni (talk) 19:37, 20 February 2023 (UTC)

title: Talk:Game theory


text:
Game Boy Advance

The Game Boy Advance (ゲームボーイアドバンス) (GBA) is a 32-bit handheld game console developed, manufactured, and marketed by Nintendo as the successor to the Game Boy Color. It was released in Japan on March 21, 2001, in North America on June 11, 2001, in the PAL region on June 22, 2001, and in mainland China as iQue Game Boy Advance on June 8, 2004.

The GBA is part of the sixth generation of video game consoles. The original model was followed in 2003 by the Game Boy Advance SP, a redesigned model with a frontlit screen and clamshell form factor. A newer revision of the SP with a backlit screen was released in 2005. A miniaturized redesign, the Game Boy Micro, was released in September 2005.

, 81.51 million units of the Game Boy Advance series have been sold worldwide. Its successor, the Nintendo DS, was released in November 2004 and is backward compatible with Game Boy Advance software.

Project Atlantis
When the original Game Boy was first introduced in 1989, many questioned why Nintendo had chosen to develop a monochrome handheld, considering competitors like the Atari Lynx and Sega Game Gear boasted color screens. However, Nintendo's gamble paid off. The rivals' color displays, while visually impressive, were criticized for their poor battery life and bulky size. The Game Boy, in contrast, offered superior portability and longevity, propelling it to immense popularity. Publicly, Nintendo pledged to develop a color Game Boy only when technology addressed the limitations of existing color handhelds.

Internally, however, a team led by Satoru Okada, who played a key role in the original Game Boy's design, was already experimenting with color displays. Their early-1990s prototype, codenamed "Project Atlantis," featured a color screen and a powerful 32-bit processor designed by Advanced RISC Machines (ARM). The team was not satisfied with the outcome and shelved further development by 1997.

However, Nintendo was under pressure from other companies who were introducing next-generation handhelds, including the Neo Geo Pocket and WonderSwan. To maintain consumer interest in the Game Boy, the company decided to pair the color screen they had been testing for Project Atlantis with a faster version of the existing Game Boy's 8-bit processor. The Game Boy Color launched in 1998.

Game Boy Advance
Still under pressure from its competitors more technically advanced handhelds, Nintendo quickly started developing a successor to the Game Boy Color, with news of the project emerging at the Space World trade show in late August 1999. The project, codenamed the Advanced Game Boy (AGB), would bring the 32-bit processing power envisioned in Project Atlantis to market.

Nintendo officially announced the Game Boy Advance on September 1, 1999, revealing details about the system's specifications and teasing that the handheld would first be released in Japan in August 2000, with the North American and European launch dates slated for the end of the same year. On August 21, 2000, IGN showed images of a GBA development kit running a demonstrational port of Yoshi's Story, and on August 22, pre-production images of the GBA were revealed in Famitsu magazine in Japan.

Nintendo revealed the console to the public on August 24, 2000, along with the Japanese and North American launch dates and 10 launch games. Unlike the Game Boy and Game Boy Color, which have the "portrait" form factor (designed by Gunpei Yokoi), the Game Boy Advance has a "landscape" form factor, putting the buttons to the sides of the device instead of below the screen. It was designed by the French designer Gwénaël Nicolas and his Tokyo-based design studio Curiosity Inc.

The GBA was then featured at Space World 2000 from August 24 to 26 alongside several peripherals for the system, including the GBA Link cable, the GameCube – Game Boy Advance link cable, a rechargeable battery pack for the system, and an infrared communications adaptor which would allow systems to exchange data. In March 2001, Nintendo revealed details about the system's North American launch, including the suggested price of $99.99 and the 15 launch games. Nintendo estimated that around 60 new games would be released by the end of 2001.

Hardware
The Game Boy Advance uses a custom system on a chip (SoC), integrating the CPU and other major components into a single package, named the CPU AGB by Nintendo and manufactured by the Sharp Corporation. The CPU AGB contains two completely different CPUs: the ARM7TDMI running at a clock rate of 16.78 megahertz (MHz) for Game Boy Advance games and the Sharp SM83 running at either 4.194304 MHz or 8.388608 MHz for backward compatibility with Game Boy and Game Boy Color games. As such, the console has two operating modes: GBA mode using the ARM7TDMI and the backward-compatible CGB mode using the SM83.

The ARM7TDMI is a 32-bit processor developed by Advanced RISC Machines (ARM) that maximizes performance under power and storage constraints, making it more suitable for use in a handheld device. Like all processors using the ARM architecture, the ARM7TDMI uses a reduced instruction set computer (RISC) design with sixteen 32-bit registers. Although the console was marketed as a 32-bit system, to reduce costs, Nintendo mixed 16-bit and 32-bit buses between the different modules within the CPU AGB. As a result, the majority of the console's memory is only accessible through a 16-bit bus.

The SM83 is a hybrid between two other 8-bit processors: the Intel 8080 and the Zilog Z80. The SM83 has the seven 8-bit registers of the 8080 (compared to 14 on the Z80), but uses the Z80's programming syntax and extra bit manipulation instructions. Like the Game Boy Color, the SM83 in the Advance could be commanded to operate at either 4.194304 MHz when playing games compatible with the original Game Boy or at 8.388608 MHz when playing games designed for the Game Boy Color. The SoC also contains a 2 KB "bootstrap" ROM which is used to start up the device in CGB mode.

The CPU CGB incorporates an updated version of Nintendo's venerable Picture Processing Unit (PPU), which was used in the Game Boy, Game Boy Color, and Super Nintendo Entertainment System. The PPU is essentially a basic GPU that renders visuals using 96 kilobyte (KB) of Video RAM located inside the CPU CGB. Inside the PPU itself is 1 KB of object attribute memory and 1 KB of palette RAM, which are optimized for fast rendering. The display itself is a 2.9-inch (diagonal) thin-film transistor (TFT) color liquid-crystal display (LCD), measuring 61.2 mm wide by 40.8 mm high. The screen is 240 pixels wide by 160 pixels high in a 3:2 aspect ratio.

Foreground objects are sprites with up to 128 per frame, sized from 8×8 to 64×64 pixels, and with 16 or 256 colors. Backgrounds can be rendered in one of six different modes. The first three are the "character modes," which use traditional tile map graphics: Mode 0 offers four static layers, Mode 1 has three layers with one affine transformation layer (which can be rotated and/or scaled), and Mode 2 has two affine layers. The other three are the "bitmap modes" which allow for rendering 3D geometry: Mode 3 has a single full-sized, fully-colored (32,768 colors) frame, Mode 4 provides two full-sized frames with 256 colors each, and Mode 5 provides two half-sized (160×128 pixels), fully-colored frames. Having two bitmaps allows "page-flipping" to avoid the artifacts that can sometimes appear when re-drawing a bitmap. While the bitmap modes were considered cutting-edge, most games avoided using them because they cost a lot of CPU resources.

For sound, the Game Boy Advance features two PCM sample player channels, which work in combination with the Audio Processing Unit (APU), a programmable sound generator first used by the legacy Game Boy. The APU has four channels: a pulse wave generation channel with frequency and volume variation, a second pulse wave generation channel with only volume variation, a wave channel that can reproduce any waveform recorded in RAM, and a white noise channel with volume variation.

The Game Boy Advance features a D-pad (directional pad) and six action buttons labeled 'A,' 'B,' 'L,' 'R,' 'SELECT,' and 'START.' The top of the console has a link port that allows it to be connected to other Game Boy devices using a Game Link Cable or a Wireless Adapter, or the GameCube home console with a special GameCube – Game Boy Advance link cable.

Color variants
The Game Boy Advance was available in numerous colors and limited editions throughout its production. It was initially available in Arctic, Black, Orange (Japan Only), Fuchsia (translucent pink), Glacier (translucent blue), and Indigo. Later in the system's lifespan, additional colors and special editions were released, including: Red, Clear Orange/Black, Platinum, White, Gold (Japan Only), Hello Kitty edition (pink with Hello Kitty and logo on bezel), The King of Fighters edition (black with images on bezel and buttons), Chobits edition (translucent light blue, with images on bezel and buttons), Battle Network Rockman EXE 2 (light blue with images on bezel), Mario Bros. edition (Glacier with Mario and Luigi on bezel), and Yomiuri Giants edition (Glacier with images on bezel).

Several Pokémon-themed limited-edition systems were made available in Pokémon Center stores in Japan. These editions include: Gold Pokémon edition (Gold with Pikachu and Pichu on bezel), Suicune edition (blue/grey with greyscale Pikachu and Pichu on bezel, and a Pokémon Center sticker on the back), Celebi edition (olive green with Celebi images on bezel), and Latias/Latios edition (pink/red and purple, with images of Latias and Latios on bezel).

Games

With hardware performance comparable to the Super Nintendo Entertainment System, the Game Boy Advance represents progress for sprite-based technology. The system's library includes platformers, SNES-like role-playing video games, and games ported from various 8-bit and 16-bit systems of the previous generations. This includes the Super Mario Advance series, and the system's backward compatibility with all earlier Game Boy titles. Though most GBA games primarily employ 2D graphics, developers have ambitiously designed some 3D GBA games that push the limits of the hardware, including first-person shooters like a port of Doom, racing games like V-Rally 3, and even platformers, like Asterix & Obelix XXL.

Some cartridges are colored to resemble the game (usually for the Pokémon series; Pokémon Emerald, for example, being a clear emerald green). Others have special built-in features, including rumble features (Drill Dozer), tilt sensors (WarioWare: Twisted!, Yoshi's Universal Gravitation), and solar sensors (Boktai).

In Japan, the final game to be released on the system was Final Fantasy VI Advance on November 30, 2006, which was also the final game published by Nintendo on the system. In North America, the last game for the system was Samurai Deeper Kyo, released on February 12, 2008. In Europe, the last game for the system is The Legend of Spyro: The Eternal Night, released on November 2, 2007. The Japan-only Rhythm Tengoku, the first game in what would eventually become known outside Japan as the Rhythm Heaven/Rhythm Paradise series, is the final first-party-developed game for the system, released on August 3, 2006.

Compatibility with other systems
An add-on for the GameCube, known as the Game Boy Player, was released in 2003 as the successor to the Super Game Boy peripheral for the Super Nintendo Entertainment System. This add-on allows Game Boy Advance, Game Boy, and Game Boy Color games to be played on the GameCube. However, some games may have compatibility issues due to certain features requiring extra hardware; for instance, WarioWare: Twisted! would require the console to be rotated manually due to its nature as a tilt sensor game.

The GBA is the last Nintendo handheld system to bear the Game Boy name. Games developed for it are incompatible with older Game Boy systems, and each game's box carries a label indicating that the game is "not compatible with other Game Boy systems." Conversely, games designed for older Game Boy systems are compatible with the Game Boy Advance, with options to play such games on either their standard aspect ratios or a stretched fullscreen.

Game Boy Advance cartridges are compatible with Nintendo DS models that support them with a dedicated GBA cartridge slot beneath the touch screen (specifically the original model and the Nintendo DS Lite), although they do not support multiplayer or features involving the use of GBA accessories due to the absence of the GBA's external peripheral port on the DS. They can also be used to unlock original content found in Nintendo DS games. The Nintendo DSi and Nintendo DSi XL lack a GBA cartridge slot, and therefore do not support backward compatibility with the GBA.

Digital re-releases
Since the Game Boy Advance was discontinued, many of its games have been re-released via digital distribution on later Nintendo consoles, mainly in the form of emulation. As part of an Ambassador Program for early adopters of the Nintendo 3DS system, ten GBA games, along with ten Nintendo Entertainment System games, were made available free for players who bought a 3DS system before the price drop on August 12, 2011. Unlike other Virtual Console games for the system, features such as the Home menu or save states are missing, since the games are running natively instead of via emulation. In January 2014, Nintendo President Satoru Iwata announced that Game Boy Advance games would be released on the Wii U's Virtual Console in April 2014. The first set of GBA games, including Advance Wars, Metroid Fusion, and Mario & Luigi: Superstar Saga, were released on April 3, 2014. All Virtual Console releases are single-player only, as they do not emulate multiplayer features enabled by Game Link cables.

In February 2023, Nintendo added Game Boy Advance games to its Nintendo Switch Online service, exclusively to those with the Expansion Pack tier. For the first time, players are able to play multiplayer games in their emulated form, online. This application emulates the Game Boy Player, meaning that games that support GameCube controller rumble work with the vibration of the Switch controllers.

Official
Nintendo released various addons for the Game Boy Advance, which include:
 * Wireless Adapter: Released in 2004, this adapter hooks up to the back of the Game Boy Advance. It replaces link cables and allows many people to link together. It was marketed for US$20 2004 and came included with Pokémon FireRed and LeafGreen. Because it was released so late in the Game Boy Advance's life, fewer than 20 games support this hardware. A special version was released for the Game Boy Micro, which has full compatibility with other models.
 * Game Boy Advance Infra-Red Adapter: This adapter is only compatible with Cyberdrive Zoids, and was not sold separately. It is not compatible with the Game Boy Micro.
 * GameCube – Game Boy Advance link cable: Used to connect the Game Boy Advance to the GameCube for interoperability between corresponding games, such as are Final Fantasy Crystal Chronicles, Pac-Man Vs., and The Legend of Zelda: Four Swords Adventures. The cable also enables using the handheld as a controller for select games.
 * Play-Yan: The Play-Yan is an MP3/MPEG4 player for the Game Boy Advance and Nintendo DS. The cartridge is slightly broader than a normal Game Boy Advance cartridge and includes a built-in headphone port as well as an SD card slot. Music or videos that users have downloaded from the Internet can be transferred onto an SD card and slotted into the Play-Yan device. Nintendo released several mini-games for the Play-Yan that could be downloaded from their website, although this functionality was later removed through a firmware update. The Play-Yan was initially available in Japan only but was released in Europe as the Nintendo MP3 Player on December 8, 2006, with the MPEG4 functionality removed. The Play-Yan was never released in North America.
 * e-Reader: The e-Reader is a scanning device that plugs into the game cartridge slot of the Game Boy Advance. It was released in Japan in December 2001, and North America in September 2002. Specialized cards with codes along the side and bottom are slid through the slot, scanning the card into the Game Boy Advance. e-Reader cards include classic games like Donkey Kong and Excitebike that can be scanned for play on the handheld. Other cards were released that unlock in-game content in compatible GBA titles such as Super Mario Advance 4: Super Mario Bros. 3 and Pokémon Ruby and Sapphire, and in GameCube games like Animal Crossing. The Pokémon Trading Card Game playing cards also adopt the e-Reader codes. The e-Reader works with the Game Boy Player and Game Boy Advance SP, but cannot fit into the Nintendo DS's Game Boy slot (however it can fit into the Nintendo DS Lite's Game Boy slot).
 * Game Boy Advance Video: First released in North America in May 2004, these cartridges included two episodes of thirty-minute cartoon programs such as Dragon Ball GT, Pokémon, SpongeBob SquarePants, Sonic X, Teenage Mutant Ninja Turtles, and Yu-Gi-Oh!. Three feature-length movies, Shrek (2001), Shrek 2 (2004), and Shark Tale (2004) were also released for the format. These cartridges display an error when inserted into a GameCube via a Game Boy Player, to prevent users from attempting to record the episodes onto other media.
 * Mobile System GB: Connects the console to a mobile phone for remote play. It was released in Japan and was compatible with Pokémon Crystal.

Unofficial
Other accessories for the Game Boy Advance include:
 * Afterburner: The Afterburner is an internal front-lighting system manufactured by Triton Labs and released in mid-2002. The installation consists of disassembling the system, removing some plastic from the interior of the case, attaching the lighting mechanism to the screen, and soldering two wires to the motherboard for power. Optionally, a potentiometer or an integrated circuit could be added to allow adjusting the brightness of the light. When the initial version of the Game Boy Advance SP was released, it included a very similar integrated lighting system. This was replaced in the subsequent version of the Game Boy Advance SP with a backlit display. According to Triton Labs, the Afterburner achieved considerable success during the lifespan of the GBA, with many gamers buying it. Though the kit voids the system's warranty, the company had minor trouble keeping up with demand for the accessory during the 2002 holiday season.
 * WormCam: This camera by Nyko attaches to the top of the Game Boy Advance and connects to the link port. The snapshots can then be uploaded to a computer with the USB cable and software.
 * Glucoboy: This is a blood glucose monitor with built-in games released in Australia in 2007 for children with diabetes.

Game Boy Advance SP
In early 2003, Nintendo introduced a new form-factor for the handheld, known as the Game Boy Advance SP (model AGS-001). The redesigned unit features a clamshell design that resembles a pocket-size laptop computer, including a folding case approximately one-half the size of the original unit. It has a rechargeable lithium-ion battery, a significantly brighter LCD screen, and an internal front-light that can be toggled on and off. The redesign was intended to address some common complaints about the original Game Boy Advance, which had been criticized for being somewhat uncomfortable to use, especially due to a dark screen.

Backlit model (AGS-101)
On September 19, 2005, Nintendo released a new version of the SP, model AGS-101, that features a brighter backlit display. The switch that controls the backlight now toggles between two brightness levels.

Game Boy Micro
In September 2005, Nintendo released a second redesign of the Game Boy Advance. This model, dubbed the Game Boy Micro, is similar in style to the original Game Boy Advance's horizontal orientation, but is much smaller and sleeker. The Game Boy Micro allows the user to switch between several colored faceplates to allow customization, a feature which Nintendo advertised heavily around the Game Boy Micro's launch. Nintendo also hoped that this "fashion" feature would help target audiences outside of typical video game players. Unlike the previous Game Boy Advance models, the Game Boy Micro is unable to support Game Boy and Game Boy Color titles. The Game Boy Micro did not make much of an impact in the video game market, as it was overshadowed by the Nintendo DS, which also played Game Boy Advance games through the GBA cartridge slot.

Reception
Upon its North American release, IGN praised the Game Boy Advance's graphical capabilities and battery life, but criticized the system's shoulder button placement and noted the system's high price tag which "may be a tad bit too high to swallow", ultimately scoring the system with an "8.0" out of 10. They also pointed out the system's lack of a backlight which occasionally got in the way of playing games. ABC News praised the Game Boy Advance's graphics, grip, and larger screen, stating that "You've never had as much fun playing old games."

Reviewing for CNET, Darren Gladstone scored the system with a 7.0 out of 10, praising its graphical performance and backward compatibility, but being considerably critical of the system's lack of a backlit screen, noting that it makes it "nearly impossible" to play in normal lighting conditions. Gladstone ultimately recommended the sleeker and backlit Game Boy Advance SP instead, despite noting that the cheaper price of the original model may "appeal to gamers on a lower budget."

ROM hacks, fan games, and Homebrew games are developed for the GBA.

Sales
Nintendo hoped to sell 1.1 million Game Boy Advance units by the end of March with the system's Japanese debut, and anticipated sales of 24 million units before the end of 2001; many marketing analysts believed this to be a realistic goal due to the company's lack of major competition in the handheld video game market. Within the first week of its North American launch in June, the Game Boy Advance sold 500,000 units, making it the fastest-selling video game console in the United States at the time. In response to strong sales, Nintendo ordered 100,000 units to ship to retail stores, hoping to ship another half million of them by the end of June. The Game Boy Advance also became the fastest-selling system in the United Kingdom, selling 81,000 units in its first week of release and beating the PlayStation 2's previous record of 20,000 units. In 2004, the system's sales in the United Kingdom surpassed one million units.

On December 1, 2006, Nintendo of America released launch-to-date information indicating that the company had sold 33.6 million units of the Game Boy Advance series in the United States. In a Kotaku article published on January 18, 2008, Nintendo revealed that the Game Boy Advance series had sold 36.2 million units in the United States, as of January 1, 2008. , 81.51 million units of the Game Boy Advance series have been sold worldwide, 43.57 million of which are Game Boy Advance SP units and 2.42 million of which are Game Boy Micro units.

title: Game Boy Advance