Herr [Gustav] Klimt indoctrinates Frau [Serena] Lederer into the art of Secessionist painting. This rapprochement between modern art and nouveau-riche Jews, this progress in the art of design, capable of transforming ghettos into affluent quarters, warrants the loveliest of hopes. [1] —Karl Kraus, Die Fackel (November 1900) In his dryly sardonic “praise” of Jewish patronage in relation to the then-dominant Secessionist aesthetic, the polemical critic Karl Kraus (1874–1936)—who, not...