13/internal/media/dispatcher/52621/fullThe Dance1908[Franz Metzner]Franz MetznerMarbleSculpturehttps://sammlungtest.belvedere.at/objects/6680/rdf/internal/media/dispatcher/115111/fullFlowering Poppies1907[Gustav Klimt, Viktor Zuckerkandl, Paula Zuckerkandl, Victor & Paula Zuckerkandl, Hans Gnad, Rudolf Leopold, Amalie Zuckerkandl, Galerie Miethke, Wien, Österreichische Galerie]Gustav KlimtOil on canvasThis painting resembles a floral tapestry, a shimmering fabric of vibrant dabs, the red of the poppies standing out as the dominant color. There is no hint of sunlight nor shadow to be seen, only the occasional outlined tree, and a gray strip of sky above the high horizon. Klimt was inspired to paint works such as this by the luminous vibrancy of French Impressionism. But his poppy field does not convey a fleeting visual experience—far from it! Rather it exudes nature’s harmony and eternal validity. Klimt painted this work in the countryside surrounding the lake Attersee in Upper Austria, where he spent his summers after 1900.Paintinghttps://sammlungtest.belvedere.at/objects/3917/rdf/internal/media/dispatcher/153750/fullMira Bauer1907[Max Kurzweil]Max KurzweilOil and black chalk on canvasMira Bauer (1901–1944), verh. Gutmann, Schwester der Malerin Bettina Ehrlich-Bauer. Das Bildnis wurde zugleich mit seinem Gegenstück, dem Bildnis von Bettina Bauer, im Sommer 1907 in der Villa Bauer in Grado gemalt.Paintinghttps://sammlungtest.belvedere.at/objects/5196/rdf/internal/media/dispatcher/153751/fullBettina Bauer1907[Max Kurzweil]Max KurzweilOil and black chalk on canvasBettina Bauer, verh. Ehrlich (19.3.1903 Wien – 1985 London). Malerin und Illustratorin von zahlreichen Kinderbüchern. Verheiratet mit dem Bildhauer Georg Ehrlich. Nichte von Adele Bloch-Bauer. — Das Bildnis Bettina Bauer wurde zugleich mit seinem Gegenstück, dem Bildnis von Mira Bauer (Inv. Nr. 6515), im Sommer 1907 in der Villa Bauer in Grado gemalt. Kurzweil unterrichtete die Mutter der Schwestern Bauer in Malerei und war ein häufiger Gast im Hause Bauer.Paintinghttps://sammlungtest.belvedere.at/objects/5197/rdf/internal/media/dispatcher/125925/fullInterior of Prince Eugene's Winter Palace in Himmelpfortgasse1907/1908[Carl Moll]Carl MollOil on canvasIn der Kunstschau 1908 wurde das Bild als "Interieur aus dem k. k. Finanzministerium" gezeigt. In der in London erscheinenden Kunstzeitschrift The Studio in einem Beitrag von Amelia Sarah Levetus über die Kunstschau wurde 1908 das Bild als "Prince Eugene of Savoy´s Palace (Now the Finanzministerium), Vienna" abgebildet. Dargestellt ist der Gelbe Salon im Winter Palais, früher Teil der Galerie des Prinz Eugen.Paintinghttps://sammlungtest.belvedere.at/objects/6679/rdf/internal/media/dispatcher/117829/fullThe Artist's Mother1907[Broncia Koller-Pinell]Broncia Koller-PinellOil on canvasPaintinghttps://sammlungtest.belvedere.at/objects/9231/rdf/internal/media/dispatcher/88428/fullModel for an Equestrian Monument to Emperor Franz Joseph I1908[Carl Otto Czeschka, Franz Metzner]Franz MetznerBronzeSculpturehttps://sammlungtest.belvedere.at/objects/1115/rdf/internal/media/dispatcher/118781/fullFritza Riedler1906[Gustav Klimt, Fritza Riedler, Aloys Riedler, Emilie Barbara Langer, Österreichische Galerie]Gustav KlimtOil on canvas Dignified, reserved, and majestic, Fritza Riedler (1860–1927), the wife of a wealthy mechanical engineer, sits in a chair as if enthroned. The delicate features of her pale face stand in striking contrast to her dark hair. There is not a flicker of expression on her face, not the slightest stirring to provide a glimpse of the sitter’s inner self. Gustav Klimt combines the naturalistic depiction of his model with a background dissolved into ornamentation. Even the chair is transformed into an ornament composed of wavy lines and ancient Egyptian eye motifs. This interplay between depth and an emphasis on the picture plane characterizes Klimt’s work from his so-called Golden Period. Paintinghttps://sammlungtest.belvedere.at/objects/2177/rdf/internal/media/dispatcher/114740/fullCottage Garden with Sunflowers1906[Gustav Klimt, Karl Wittgenstein, Hermine Wittgenstein, Österreichische Galerie, Galerie Sanct Lucas]Gustav KlimtOil on canvas Sunflowers and dahlias, marigolds, asters, and flame flowers. In this work, Klimt more than lives up to his reputation as the “artist of eternal flowering.” Against a backdrop of verdant green, he has filled the picture plane with a vibrant sea of flowers. This abundant, vivid array stirs memories of a radiant summer day. It transports us to a dream world beyond space and time, where flowers and leaves never wilt. One typical characteristic of Klimt’s landscape paintings is their square format. In order to find the perfect section of a scene, the painter used a viewfinder. “This is a hole cut into a piece of cardboard,” he explained in a letter to his lover Mizzi Zimmermann.Paintinghttps://sammlungtest.belvedere.at/objects/2483/rdf/internal/media/dispatcher/36554/fullGirlfriends (Water Serpents I)1904 (minor amendments in 1907)[Gustav Klimt, Gustav Klimt, Unbekannter Besitz, Galerie H. O. Miethke, Karl Wittgenstein, Belvedere, Wien]Gustav Klimt Watercolour, gouache, pencil, gold, silver, platinum and brass on parchment Klimt’s aquatic beings, described by the artist as “water serpents” or “water nymphs,” seem bewitchingly detached from the real world. In dreamy, flowing movements they float above the ocean floor in the midst of golden seaweed. A glimmering fish stares out at us with a fixed gaze from the lower right of the picture. Influenced by the Symbolist art movement, the artist used these aquatic creatures to symbolize a mystical realm. Klimt created this work on parchment at the height of his Golden Period.Paintinghttps://sammlungtest.belvedere.at/objects/3828/rdf/internal/media/dispatcher/70910/fullHeiligenstadt im Schnee1904/1905[Carl Moll]Carl MollOil on canvasBei der Kunstschau 1908 wurde das Winterbild gezeigt als "Winter in Heiligenstadt".Paintinghttps://sammlungtest.belvedere.at/objects/4958/rdf/internal/media/dispatcher/128261/fullAdolescentia1903[Elena Luksch-Makowsky]Elena Luksch-MakowskyOil on canvasAdolescence was a widely explored theme in art around 1900. In Adolescentia, a painting steeped in symbolism, Elena Luksch-Makowsky captured this fragile state on the threshold between childish play and awakening sexual interest: Slightly ungainly yet confident nonetheless, a larger-than-life girl is shown standing in a meadow covered with spring flowers. Some distance away, young, pubescent men visibly react to her presence. Born into a family of artists in St. Petersburg, the painter had moved to Vienna with her husband, the sculptor Richard Luksch. Here the artist worked in various media, creating both paintings and designs for sculptures. Paintinghttps://sammlungtest.belvedere.at/objects/4698/rdf/internal/media/dispatcher/70899/fullBirch Forest in Evening Lightc. 1902[Carl Moll]Carl MollOil on canvasDas Bild wurde höchstwahrscheinlich in der XIII. Secessionsausstellung als "Abend" gezeigt.Paintinghttps://sammlungtest.belvedere.at/objects/3798/rdf