40/internal/media/dispatcher/18006/fullSouthern Seaport1956[Gustav Kurt Beck]Gustav Kurt BeckOil on canvas Beck’s major work is dominated by blues and grays. Clear outlines define a network of concise shapes: irregular squares, rectangles, and a few circles. Although the title suggests a specific motif, the geometric composition is actually more reminiscent of a map or a city plan. Port in the South shows the abstract approach of a major artist from Austria’s postwar avant-garde. The work attests to a tentative departure into modern art, which took it all the way to the documenta in Kassel, the world’s most important art exhibition. Nevertheless, to this day art history often fails to give Beck his due recognition. Paintinghttps://sammlungtest.belvedere.at/objects/9130/rdf/internal/media/dispatcher/5872/fullBicyclist1951[Josef Pillhofer]Josef PillhoferBronzeSculpturehttps://sammlungtest.belvedere.at/objects/9058/rdf/internal/media/dispatcher/6062/fullYellow Quarry near St. Margarethen1938[Herbert Boeckl]Herbert BoecklOil on canvasPaintinghttps://sammlungtest.belvedere.at/objects/3228/rdf/internal/media/dispatcher/18742/fullView of Paris1931[Ernst Paar]Ernst PaarOil on canvasPaintinghttps://sammlungtest.belvedere.at/objects/9157/rdf/internal/media/dispatcher/12688/fullParis, 11 November (Place de la Concorde)c. 1935[Wilhelm Thöny]Wilhelm ThönyOil on canvasPaintinghttps://sammlungtest.belvedere.at/objects/4575/rdf/internal/media/dispatcher/12781/fullAjaccio1926[Anton Faistauer]Anton FaistauerOil on canvasPaintinghttps://sammlungtest.belvedere.at/objects/2141/rdf/internal/media/dispatcher/12776/fullCity with Viaductc. 1930[Louis Casimir Ladislas Marcoussis]Louis Casimir Ladislas MarcoussisOil on canvasPaintinghttps://sammlungtest.belvedere.at/objects/1099/rdf/internal/media/dispatcher/12746/fullLandscape in Palestine1923[Joseph Floch]Joseph FlochOil on canvasPaintinghttps://sammlungtest.belvedere.at/objects/5135/rdf/internal/media/dispatcher/5973/fullSelf-Portrait in Paris1923[Herbert Boeckl]Herbert BoecklOil on canvasPaintinghttps://sammlungtest.belvedere.at/objects/8243/rdf/internal/media/dispatcher/4905/fullCagnesc. 1927[Felix Albrecht Harta]Felix Albrecht HartaOil on canvasPaintinghttps://sammlungtest.belvedere.at/objects/8626/rdf/internal/media/dispatcher/13516/fullMaria Luise Leopoldine Ambrosi1922[Gustinus Ambrosi]Gustinus AmbrosiMarble on marble pedestalSculpturehttps://sammlungtest.belvedere.at/objects/11191/rdf/internal/media/dispatcher/13465/fullThe Human and Destinyc. 1920[Gustinus Ambrosi]Gustinus AmbrosiMarble on serpentine/ marble pedestalSculpturehttps://sammlungtest.belvedere.at/objects/11236/rdf/internal/media/dispatcher/10964/fullStill Life with Peaches1918[Helene Funke]Helene FunkeOil on canvasPaintinghttps://sammlungtest.belvedere.at/objects/3081/rdf/internal/media/dispatcher/160537/fullAdam and Eve1916 - 1918[Gustav Klimt, Sonja Knips, Galerie Gustav Nebehay, Österreichische Galerie]Gustav KlimtOil on canvas (unfinished) Klimt rarely engaged with biblical subjects during his career. One of his last works, unfinished at his death, shows the first humans, Adam and Eve. He was not interested in the more traditional depiction of the Fall, however, instead focusing on the figure of Eve as the quintessential female. Adam has closed his eyes, intoxicated with love, as he tilts his head and nestles tenderly against Eve. But Eve is looking straight at us. The anemones on the ground are emblems of fertility; the leopard skin, meanwhile, was a symbol in ancient Greece of unbridled desire. In Klimt’s interpretation, then, it is Eve—and not the snake—who is the temptress.Paintinghttps://sammlungtest.belvedere.at/objects/3196/rdf/internal/media/dispatcher/50850/fullThe Young Sphinx1916[Anton Hanak]Anton HanakMarbleSculpturehttps://sammlungtest.belvedere.at/objects/7867/rdf/internal/media/dispatcher/12737/fullSelf-Portraitc. 1916[Koloman Moser]Koloman MoserOil on canvas, mounted on cardboardHis great talent was his versatility: painting and graphics, applied art, fashion, interior and set design—Koloman Moser was at home in all these disciplines. As a founder member of the Secession and the Wiener Werkstätte, he both paved the way and shaped the path of Viennese modernism. Moser portrays himself in a strictly frontal pose, his shirt open, his chest naked, his eyes wide. He has a visionary quality, almost Christlike with light encircling his head like a halo. The painting’s cool colors and the strictly symmetrical composition are also striking and were inspired by the work of his Swiss colleague Ferdinand Hodler.  Paintinghttps://sammlungtest.belvedere.at/objects/4320/rdf/internal/media/dispatcher/70805/fullThe Artist’s Wife with Flowers1913[Anton Kolig]Anton KoligOil on canvasPaintinghttps://sammlungtest.belvedere.at/objects/2010/rdf/internal/media/dispatcher/76750/fullBerghängeundated[Koloman Moser]Koloman MoserOil on canvasPaintinghttps://sammlungtest.belvedere.at/objects/5270/rdf/internal/media/dispatcher/97122/fullAvenue to Schloss Kammer1912[Gustav Klimt, Viktor Zuckerkandl, Paula Zuckerkandl, Victor & Paula Zuckerkandl, Österreichische Galerie]Gustav KlimtOil on canvas “I am longing to get away more than ever,” wrote Gustav Klimt at the beginning of August 1901 — away from the hot city for a sojourn by the lakes and mountains of Austria’s Salzkammergut. From 1900 to 1916 the artist spent several weeks each summer at the Attersee lake. This beautiful region inspired him and he painted intensively. Klimt depicted Schloss Kammer in a total of five paintings. At the end of an avenue of gnarled trees, the entrance and part of the yellow façade can be seen in the pictorial depths. Vibrant dabs of paint and bold contours reflect Klimt’s engagement with the international avant-garde, for example the work of Vincent van Gogh or Paul Cézanne that he had the chance to study at exhibitions in Vienna.Paintinghttps://sammlungtest.belvedere.at/objects/8691/rdf/internal/media/dispatcher/70875/fullUpper Austrian Farmhouse1911[Gustav Klimt, Galerie Miethke, Wien, Moderne Galerie, Wien]Gustav KlimtOil on canvasIt is as though we are standing beneath the apple tree ourselves, with the dense treetops towering over the view of the old farmhouse in the background. Gustav Klimt painted this picture during his summer retreat at the Attersee in 1911. Using a pointillist technique, he dissolved nature into numerous brushstrokes, while the house itself is rendered with clearly defined surfaces and contours. This gives the impression of a two-dimensional surface pattern, despite the spatial distance between the individual motifs. The blossoming and fertility of nature that so delighted Klimt, evident in the orchards and flower meadows of most of his landscapes, takes on the character of a natural symbolism that celebrates life in its prime.Paintinghttps://sammlungtest.belvedere.at/objects/380/rdf/internal/media/dispatcher/4749/fullGustav Mahler1909[Auguste Rodin]Auguste RodinBronzeRodin is regarded as the father of modern sculpture. Throughout his life, the French sculptor channeled his energies into the power of expression, breathing life into his work with unprecedented mastery. Rodin had a close relationship to Vienna. His work regularly appeared at Secession exhibitions after 1898. In 1903 he met Gustav Klimt and Egon Schiele. In 1909 Gustav Mahler, Austria’s greatest composer at the time, sat for him in Rodin’s Paris studio. The result was this bust: realistic and imbued with spirit, light and shadow trace every little imperfection on Mahler’s face. Rodin has given particular emphasis to the forehead. As the seat of thought, this was important to the sculptor for it visualized intelligence and a lively mind.Sculpturehttps://sammlungtest.belvedere.at/objects/201/rdf/internal/media/dispatcher/19148/fullSummer1907[Rudolf Junk]Rudolf JunkOil on canvasPaintinghttps://sammlungtest.belvedere.at/objects/6573/rdf/internal/media/dispatcher/12514/fullOrange Grove on the French Riviera1903[Broncia Koller-Pinell]Broncia Koller-PinellOil on canvasPaintinghttps://sammlungtest.belvedere.at/objects/4739/rdf/internal/media/dispatcher/15409/fullAt the Donaulände1903[Franz Jaschke]Franz JaschkeOil on canvasPaintinghttps://sammlungtest.belvedere.at/objects/6455/rdf/internal/media/dispatcher/70888/fullPath in Monet's Garden in Giverny1902[Claude Monet]Claude MonetOil on canvasIt is late summer. The leaves and flowers seem positively to shimmer, the painting a tapestry of juxtaposed dabs of paint. Solid shapes are nowhere to be seen—everything is color. The herbaceous borders of nasturtiums, asters, and dahlias and the sandy path leading to a house all shine brightly. Dappled shadows dissolve into an array of dark hues. In spring 1883 Monet moved to a house in Giverny, northwest of Paris. He immediately started designing the garden; a water-lily pond was a later addition. In 1872 the little-known painter had unwittingly given Impressionism its name when he exhibited Impression, soleil levant (Impression, Sunrise). His water-lily paintings and images of this avenue in his garden represent the climax and culmination of this style.Paintinghttps://sammlungtest.belvedere.at/objects/2683/rdf/internal/media/dispatcher/103665/fullStill Life with Blue Flask, Sugar Jar and Apples1900/1902[Paul Cézanne]Paul CézanneWatercolor on paperPaintinghttps://sammlungtest.belvedere.at/objects/977/rdf/internal/media/dispatcher/118782/fullSonja Knips1897/1898[Gustav Klimt, Sonja Knips, Österreichische Galerie]Gustav KlimtOil on canvas Calm and confident, Sonja Knips gazes back at us. A baroness by birth, she was one of Gustav Klimt’s most prominent patrons. The artist subtly composed her portrait with great sensitivity, alternating between hazy evocation and precision: Sonja Knips’s face is rendered naturalistically, while her sumptuous tulle gown dissolves in a cascade of soft brushstrokes. Leaning slightly forward, she sits on the edge of an armchair ready to rise at any moment. A red sketchbook in her right hand adds an accent of bright color. This is the first portrait that Klimt painted in a square format. It also marks the start of his rise to become one of the most sought-after portraitists of Viennese society.Paintinghttps://sammlungtest.belvedere.at/objects/3197/rdf/internal/media/dispatcher/21130/fullThe Harbour of Concarneauc. 1900[Max Kurzweil]Max KurzweilOil on canvasDas Bild war erstmals in der 17. Ausstellung der Secession ausgestellt, aus der es von der Theodor-Hörmann-Stiftung als Widmung an die Moderne Galerie im Unteren Belvedere angekauft wurde.Paintinghttps://sammlungtest.belvedere.at/objects/6454/rdf/internal/media/dispatcher/13187/fullFrau im Bettc. 1893/1895[Henri de Toulouse-Lautrec]Henri de Toulouse-LautrecOil on cardboardPaintinghttps://sammlungtest.belvedere.at/objects/2629/rdf/internal/media/dispatcher/12130/fullIm Gartenrestaurant1893[Josef Engelhart]Josef EngelhartOil on woodPaintinghttps://sammlungtest.belvedere.at/objects/3963/rdf/internal/media/dispatcher/101397/fullThe Plain of Auvers1890[Vincent van Gogh]Vincent van GoghOil on canvasAs if after a downpour, a narrow strip of greeny-blue sky hangs over the plain at Auvers. The landscape seems to be absorbing this color. Although red and orange flowers still blaze in the foreground, toward the horizon the shades gradually merge into a uniform array of hues. A sense of depth and the high horizon evoke the wide expanse of the scene while the rolling countryside is captured in turbulent brushwork. Van Gogh spent the last two months of his life here at Auvers-sur-Oise. After his brother Theo sent him some long-awaited canvases and paints, Vincent was swept into a creative frenzy, making dozens of pictures such as this work. The painter died soon after its completion.Paintinghttps://sammlungtest.belvedere.at/objects/9/rdf/internal/media/dispatcher/4554/fullNighttime Paris with the Eiffel Tower1889[Theodor von Hörmann]Theodor von HörmannOil on canvasDas Bild wurde 1891 von der Jury des Künstlerhauses zurückgewiesen. (Vgl. Hussl-Hörmann, 2013, S. 232)Paintinghttps://sammlungtest.belvedere.at/objects/4503/rdf/internal/media/dispatcher/16071/fullStill Life with Flower Potsc. 1890[Carl Schuch]Carl SchuchOil on canvasPaintinghttps://sammlungtest.belvedere.at/objects/2190/rdf/internal/media/dispatcher/159667/fullHouses in Parisc. 1885/1890[Carl Schuch]Carl SchuchOil on canvasPaintinghttps://sammlungtest.belvedere.at/objects/2501/rdf/internal/media/dispatcher/128486/fullStill Life with Five Bottles1884[Vincent van Gogh]Vincent van GoghOil on canvas This still life, limited to only a few objects, is an impressive example of Vincent van Gogh’s early painterly work. We see five bottles in front of a window, four of them made of clay. An already emptied bottle lies in front of other, stoppered vessels. In 1884 Van Gogh was living in Antwerp, having moved there from The Hague. It was only a year prior that he finally turned away from drawing and toward painting. At that time, he admired socially critical painters such as the Belgian artist Charles de Groux, a representative of Radical Realism. The earthy colors and simple materials such as wood and clay in Van Gogh’s still lifes also reflect the preoccupations of realistic painting. Paintinghttps://sammlungtest.belvedere.at/objects/7550/rdf/internal/media/dispatcher/4431/fullFrom the Tuileries – Sunny Day1883[Tina Blau]Tina BlauOil on woodBlick vom Grand bassin rond in Richtung des Place de la Concorde. Im Hintergrund sind der Obelisk und der Arc de triomphe angedeutet.Paintinghttps://sammlungtest.belvedere.at/objects/584/rdf/internal/media/dispatcher/4432/fullFrom the Tuileries – Gray Day1883[Tina Blau]Tina BlauOil on woodTina Blau had achieved success. Her art was acclaimed not only in Vienna but even in Paris. Blau had made the most of her time in the French capital. She visited the Tuileries Garden and painted the park’s central avenue between the Louvre and the Place de la Concorde in various weather conditions. Here it is a gray and overcast day. Only a few darkly dressed people are out and about. The wooden panel is left partly visible, the paint has been applied in thick impasto using short brushstrokes. Just a few strokes suffice to render the wood planters, a cape, or the statues on their plinths. The painting belongs to a group of works that led to Blau’s recognition in Munich when she exhibited there in 1890.Paintinghttps://sammlungtest.belvedere.at/objects/585/rdf/internal/media/dispatcher/70882/fullLock on the St. Denis Canal1883[Rudolf Ribarz]Rudolf RibarzOil on canvasPaintinghttps://sammlungtest.belvedere.at/objects/2183/rdf/internal/media/dispatcher/70895/fullIn the Tuileriesc. 1888[Theodor von Hörmann]Theodor von HörmannOil on canvasPaintinghttps://sammlungtest.belvedere.at/objects/2835/rdf/internal/media/dispatcher/27643/fullEve1881[Auguste Rodin]Auguste RodinBronzeWithdrawn and introspective she stands there: Eve, the mother of all life on earth. She buries her head in her arms in shame. Throughout his career, Rodin looked to nature as his model and always worked from life. For his Eve, the French sculptor chose a young woman who was pregnant. Rodin was unaware of this, but observed her closely and kept adding material until his model told him she was expecting a baby. Eve remained unfinished and Rodin spent many years with her in his studio. Eventually he decided to exhibit the figure and buried her feet in sand. As a modern sculpture, Eve encountered her audience on the same level and thus sparked a revolution in the art world.Sculpturehttps://sammlungtest.belvedere.at/objects/8612/rdf