 The unnamed reviewer from the "Wiener Allgemeine Zeitung" described the painting as "an idol in a golden shrine", while the critic Eduard Pötzl described the work as "" ("more brass than Bloch").According to the art historian Tobias G. Natter, some critics disapproved of the loss of the sitter's individuality, while others "accused Klimt of endangering the autonomy of art".After exhibition at the , the portrait was hung at the Bloch-Bauers' Vienna residence.