/internal/media/dispatcher/10596/fullThe Artist's Wife1905[Jacek Hyacinth Malczewski]Jacek Hyacinth MalczewskiOil on canvasPaintinghttps://sammlungtest.belvedere.at/objects/206/rdf/internal/media/dispatcher/12099/fullAm Brunnen der Liebec. 1908[Hans Tichy]Hans TichyOil on cardboardPaintinghttps://sammlungtest.belvedere.at/objects/628/rdf/internal/media/dispatcher/50754/fullLeichnam Christi1901[Eduard Adrian Dussek]Eduard Adrian DussekOil on canvasPaintinghttps://sammlungtest.belvedere.at/objects/895/rdf/internal/media/dispatcher/4797/fullFantastical Still Lifec. 1917[James Ensor]James EnsorOil on woodPaintinghttps://sammlungtest.belvedere.at/objects/2708/rdf/internal/media/dispatcher/19866/fullDido on the Funeral Pyre1935[Alexander Rothaug]Alexander RothaugOil on canvasPaintinghttps://sammlungtest.belvedere.at/objects/2844/rdf/internal/media/dispatcher/7373/fullStill Life with Blue Flask and Plucked Chickenc. 1910[James Ensor]James EnsorOil on canvasPaintinghttps://sammlungtest.belvedere.at/objects/3214/rdf/internal/media/dispatcher/4824/fullHalf-figure of a Nymph (“Vivien”)1896[Fernand Khnopff]Fernand KhnopffPlaster, painted, on a gilded wooden baseIn the work of the Belgian Symbolist Fernand Khnopff we often encounter female figures and mystical hybrid creatures, swathed in an enigmatic and mysterious mood. Here we meet Vivien, a mythical enchantress from the legend of King Arthur. She stole the magical shell from the wizard Merlin and is shown holding it triumphantly in this sculpture. With half-closed eyes, seductively parted lips, and a mane of wavy red hair, the beautiful nymph is a true femme fatale. In fin-de-siècle Vienna, this type of “dangerous temptress,” who manipulated men with her erotic charms and often caused their downfall, was a popular subject in both art and literature.Sculpturehttps://sammlungtest.belvedere.at/objects/3225/rdf/internal/media/dispatcher/28837/fullAdagio1876[Gabriel von Max]Gabriel von MaxOil on canvasPaintinghttps://sammlungtest.belvedere.at/objects/3464/rdf/internal/media/dispatcher/50111/fullDownpour1907[Richard Teschner]Richard TeschnerOil on wood veneer panelRichard Teschner ist heute vor allem durch seine Marionettenschöpfungen bekannt, mit denen er internationale Anerkennung errang. Ihnen ging jedoch sein grafisches und malerisches Schaffen voraus, welches überwiegend in Prag entstand. Teschners Gemälde Platzregen nimmt ein Motiv aus der Erzählung „Der Puppenmaler“ von Oskar Wiener auf. Wiener zählte wie Paul Leppin, Hugo Steiner-Prag und Alexander Moissi zu Teschners Kreis von Kunst- und Literatenfreunden in Prag. In der Erzählung hat ein Puppenmaler einen Albtraum, in dem er von einem Riesenfrosch verfolgt wird. Teschner wandelt dieses Motiv in eine wabrige, anthropomorphe Gestalt, die mitten auf dem Prager Altstädter Ring einen Passanten mit Wasser überschüttet. Die unheimliche, geisterhafte Gestalt wirkt wie eine Vorwegnahme von Teschners späteren Figurinen. — [Alexander Klee, 4/2017]Paintinghttps://sammlungtest.belvedere.at/objects/3469/rdf/internal/media/dispatcher/13136/fullAntike Friedhofsszene (Frau mit Kindern eine Grabstelle schmückend)undated[Adolf Hirémy-Hirschl]Adolf Hirémy-HirschlOil on canvasPaintinghttps://sammlungtest.belvedere.at/objects/4552/rdf/internal/media/dispatcher/19407/fullPeace1910/1920[Tom von Dreger]Tom von DregerOil on canvasPaintinghttps://sammlungtest.belvedere.at/objects/5049/rdf/internal/media/dispatcher/17635/fullDie vier Jahreszeiten: Frühling1928[Rudolf Jettmar]Rudolf JettmarOil on canvasPaintinghttps://sammlungtest.belvedere.at/objects/5085/rdf/internal/media/dispatcher/50749/fullJudith with the Head of Holofernes1898[Hermann Hahn]Hermann HahnMarbleSculpturehttps://sammlungtest.belvedere.at/objects/6046/rdf/internal/media/dispatcher/128917/fullSea Idyll1887[Arnold Böcklin]Arnold BöcklinOil on woodThe merman has grabbed the seal firmly by the scruff of its neck. His child gawps in astonishment at the catch, while the mother only just keeps hold of a sleeping infant. Böcklin’s Sea Idyll can be interpreted as a bourgeois family, from whom the painter distances himself with subtle irony. Instead of a table, the family has gathered around a rock, while still assuming the classic gender roles: the man is the family’s breadwinner, the woman looks after the children. Yet this family is free from social norms and constraints. The nude merfolk move through their element, water, without shame, but also with no overt displays of eroticism.Paintinghttps://sammlungtest.belvedere.at/objects/6157/rdf/internal/media/dispatcher/21859/fullChrist on Olympus1897[Max Klinger]Max KlingerOil on canvasPaintinghttps://sammlungtest.belvedere.at/objects/6166/rdf/internal/media/dispatcher/51186/fullThe Judgment of Paris1885-1887[Max Klinger]Max KlingerOil on canvas, framing in wood and plaster The goddesses Venus, Athena, and Hera approach the shepherd Paris without a hint of bashfulness. They present their bodies and gaze steadily at Paris and Hermes, the messenger of the gods. Hermes takes it all in his stride, pausing for a moment in a self-absorbed athletic pose. Paris, on the other hand, seems to recoil from such an obvious display of femininity—just like the male audience around 1900. Most men were left feeling “absolutely alien and uncomprehending” when faced with this painting, as the work’s first owner Alexander Hummel wrote, whereas it was genuinely admired by women. Klinger showed the goddesses exuding self-confidence rather than in lascivious poses. And confronted with so much self-assurance, the male world simply had to capitulate. Paintinghttps://sammlungtest.belvedere.at/objects/6167/rdf/internal/media/dispatcher/105462/fullThe Ice Saintsbefore 1902[Karl Mediz]Karl MedizOil on canvasDie Matreier Heimatforscher Tobias Trost und Alexander Brugger identifizierten die in den Eismännern porträtierten Osttiroler Persönlichkeiten. Von links nach rechts: Alois Waldner (vulgo Lichtackerer), Georg Wolsegger (vulgo Birnbaumer, Postmeister und Bürgermeister), Hannes Raneburger (volgo Gonn), Johann Trager (vulgo Lackner auf Glanz). — [Markus Fellinger 08/2013]Paintinghttps://sammlungtest.belvedere.at/objects/6178/rdf/internal/media/dispatcher/49592/fullLandscape with Thunderstorm1901[Rudolf Jettmar]Rudolf JettmarWatercolor, pencil and pastel on paperDrawing arthttps://sammlungtest.belvedere.at/objects/6191/rdf/internal/media/dispatcher/5366/fullSolitudec. 1902-1903[Karl Mediz]Karl MedizOil on canvasA tranquil dark lake, rocky shore, trees, and cirrus clouds against a blue summer sky define this large “landscape of the soul” by Karl Mediz. The seemingly naturalistic view depicts a small lake known as the Dead Sea on the island of Lokrum off the coast of Dubrovnik. Close-up we can detect almost impressionistic brushstrokes and dabs of paint evoking a shimmering overall effect. From a greater distance, however, it becomes apparent that the painter composed the image out of clearly delineated planes. These forms create the foundations of the pictorial composition. Paintinghttps://sammlungtest.belvedere.at/objects/6291/rdf/internal/media/dispatcher/16332/fullChrist1903[Josef Köpf]Josef KöpfOil on canvasPaintinghttps://sammlungtest.belvedere.at/objects/6318/rdf/internal/media/dispatcher/50849/fullSphinx1906[Viktor Müller]Viktor MüllerOil on canvasPaintinghttps://sammlungtest.belvedere.at/objects/6673/rdf/internal/media/dispatcher/50565/fullSouls at the River Acheron1898[Adolf Hirémy-Hirschl]Adolf Hirémy-HirschlOil on canvas The souls of the dead in human form have congregated on the banks of the Acheron. Accompanied by Hermes Psychopompos, the conveyor of souls, they restlessly wait to cross to the underworld. Approaching on the river, the barge of the ferryman Charon can already be seen. Adolf Hirémy-Hirschl depicted this story from Greek mythology with searing emotional intensity. The realistic representation of the naked, pale, partially veiled bodies is based on photographs. Despite the pathos of the composition, this heightens the nightmarish quality of the work. Following in the footsteps of Hans Makart, Hirémy-Hirschl emulated his grandiose “sensation pictures” while at the same time adhering here to the style of Dark Romanticism, the hallmarks of which are gloom, suffering, and death. Paintinghttps://sammlungtest.belvedere.at/objects/6707/rdf/internal/media/dispatcher/106299/fullThe Stone Carriers of Ragusa1898[Karl Mediz]Karl MedizOil on canvasPaintinghttps://sammlungtest.belvedere.at/objects/7031/rdf/internal/media/dispatcher/7606/fullLandscape with Rocks1905[Karl Mediz]Karl MedizOil on canvasPaintinghttps://sammlungtest.belvedere.at/objects/7032/rdf/internal/media/dispatcher/4863/fullCalm Water1894[Fernand Khnopff]Fernand KhnopffOil on canvas The pond is utterly still. Isolated trees line the green bank, yet the artist directs our gaze to the water and not to the treetops. We can only identify the surroundings from the reflection. Fernand Khnopff sought to visualize a world unexplored by humanity. As an exponent of Symbolism, the Belgian artist’s depictions of ponds and glades were intended to make a deeper reality visible. The water’s surface becomes a metaphor of the unfathomable human psyche: it reflects the image like a mirror, but it is impossible to see into the pond’s depths. Khnopff’s works were shown at the first exhibitions of the Vienna Secession. Their subliminal messages fascinated the group of artists around Gustav Klimt.Paintinghttps://sammlungtest.belvedere.at/objects/7541/rdf/internal/media/dispatcher/4866/fullLargo (Sunset)c. 1898[Ludwig von Hofmann]Ludwig von HofmannOil on canvasPaintinghttps://sammlungtest.belvedere.at/objects/7694/rdf/internal/media/dispatcher/88515/fullLost1891[Franz von Stuck]Franz von StuckOil on canvasTogether with Max Klinger, Franz von Stuck was the most important exponent of Jugendstil in Germany. In his early career, he had worked on the magazine Jugend (meaning youth), which gave this new style its name. In 1892 he was a co-founder of the Munich Secession, the first progressive group of artists in German-speaking Europe committed to this new movement in art. Stuck became famous for his original interpretations of classical mythology. The painting Lost depicts a faun, a mythical creature who according to the Greek myths was at home in warm Mediterranean climes, but has here been cast into a barren, snow-covered region. Paintinghttps://sammlungtest.belvedere.at/objects/7739/rdf/internal/media/dispatcher/50855/fullIdyll (Male and Female Semi-nudes in the Landscape)1894/1895[Ludwig von Hofmann]Ludwig von HofmannOil on canvasPaintinghttps://sammlungtest.belvedere.at/objects/7778/rdf/internal/media/dispatcher/5384/fullVerwundeter1916[Jan Štursa]Jan ŠtursaBronzeSculpturehttps://sammlungtest.belvedere.at/objects/7811/rdf/internal/media/dispatcher/17619/fullDie vier Jahreszeiten: Winter1928[Rudolf Jettmar]Rudolf JettmarOil on canvasPaintinghttps://sammlungtest.belvedere.at/objects/9521/rdf/internal/media/dispatcher/17620/fullDie vier Jahreszeiten: Herbst1928[Rudolf Jettmar]Rudolf JettmarOil on canvasPaintinghttps://sammlungtest.belvedere.at/objects/9522/rdf/internal/media/dispatcher/17621/fullDie vier Jahreszeiten: Sommer1928[Rudolf Jettmar]Rudolf JettmarOil on canvasPaintinghttps://sammlungtest.belvedere.at/objects/9523/rdf/internal/media/dispatcher/28557/fullPrometheus1908-1910[František Kupka]František KupkaEngravings and drawings in slipcaseIn den Jahren 1908-1910 zeichnete Kupka die Vorlagen der Illustration zu einer Neuauflage des Prometheus von Aischylos. Das Buch erschien erst 1924 bei Auguste Blaizot in Paris.Printhttps://sammlungtest.belvedere.at/objects/17996/rdf/internal/media/dispatcher/28936/fullAdler1910[Hans Frank]Hans FrankHolzschnitt und Aquatinta auf PapierPrinthttps://sammlungtest.belvedere.at/objects/21508/rdf/internal/media/dispatcher/30547/fullCampagna di Roma. Tomb of Caecilia Metella1894[Rudolf Bacher]Rudolf BacherOil on canvasPaintinghttps://sammlungtest.belvedere.at/objects/25179/rdf/internal/media/dispatcher/81109/fullSitzendes Mädchen1905[František Kupka]František KupkaPencil on paperDrawing arthttps://sammlungtest.belvedere.at/objects/30912/rdf/internal/media/dispatcher/50756/fullJungbrunnenc. 1895[Eduard Veith]Eduard VeithOil on canvasPaintinghttps://sammlungtest.belvedere.at/objects/32627/rdf/internal/media/dispatcher/50535/fullSphinx1880/1894[Christian Behrens]Christian BehrensBronze, patinated dark brown, on coeval wooden pedestalSculpturehttps://sammlungtest.belvedere.at/objects/33801/rdf/internal/media/dispatcher/134815/fullBeethoven1885 (first version), 1902 (monumental version), 1907 (reduction)[Max Klinger]Max KlingerBronzeSculpturehttps://sammlungtest.belvedere.at/objects/35291/rdf/internal/media/dispatcher/67436/fullLiliesc. 1901[Gottlieb Theodor Lukas Kempf Edler von Hartenkampf]Gottlieb Theodor Lukas Kempf Edler von HartenkampfOil on canvasPaintinghttps://sammlungtest.belvedere.at/objects/54136/rdf/internal/media/dispatcher/158809/fullGefesselter weiblicher Akt. Illustration zu einer Erzählungum 1910[Sigmund Walter Hampel]Sigmund Walter HampelAquarell auf PapierDrawing arthttps://sammlungtest.belvedere.at/objects/102892/rdf