13/internal/media/dispatcher/23598/fullThe Herzogstand on Walchensee in the Snow1922[Lovis Corinth]Lovis CorinthOil on canvasAb 1919 residiert Corinth mit seiner Familie regelmäßig am oberbayrischen Walchensee, um sich vom Berliner Alltag zu erholen. Der Künstler schätzt die Gebirgslandschaft, malt sie – meist unter freiem Himmel – und nimmt die Gegend dabei als Spiegel seines inneren Erlebens wahr. Zum Transport der Leinwände dient ein Klapprahmen mit Tragschlaufen und Scharnieren. Werden die Scharniere geöffnet, lässt sich der Rahmen zusammenklappen. Die bemalte Fläche befindet sich dann im Inneren. Dafür sind in der Mitte der Leinwand kleine Einschnitte nötig. Der rasche Verkauf des Bildes dürfte dazu geführt haben, dass Corinth die Leinwand nicht auf einen Keilrahmen gespannt, sondern auf dem Klapprahmen belassen hat.Paintinghttps://sammlungtest.belvedere.at/objects/8177/rdf/internal/media/dispatcher/94301/fullPortrait of the Artist's Wife, Edith Schiele1918[Egon Schiele]Egon SchieleOil on canvas“One evening Schiele was invited with his wife. She was completely obscured by her tousled blonde hair and a shy hesitancy,” wrote a friend of the artist’s about the young couple. They had married in 1915; three years later the Expressionist artist painted his wife with a highly sensitive gaze. It would be the first of his paintings to be acquired by a museum. But in the eyes of the then Director of the Belvedere (called the Österreichische Staatsgalerie at the time) it was too “arts-and-crafts” and vivid, whereupon Schiele reworked Edith’s dress in more muted hues. Technical analysis of the painting in 2018 brought this original version to light. This has been reconstructed and is shown here beside the final version of the painting.Paintinghttps://sammlungtest.belvedere.at/objects/1029/rdf/internal/media/dispatcher/94715/fullVictor Ritter von Bauer1918[Egon Schiele]Egon SchieleOil on canvasPaintinghttps://sammlungtest.belvedere.at/objects/1955/rdf/internal/media/dispatcher/4121/fullPortrait of Dr. Franz Martin Haberditzl1917[Egon Schiele]Egon SchieleOil on canvasDer Kunsthistoriker Prof. Dr. Franz Martin Haberditzl (1882–1944) war von 1915 bis 1938 Direktor der Österreichischen Galerie.Paintinghttps://sammlungtest.belvedere.at/objects/10519/rdf/internal/media/dispatcher/84004/fullDeath and Maiden1915[Egon Schiele]Egon SchieleOil on canvasMortality and death are existential themes that Schiele ventured to address time and again—here associated with a biographical event. It shows a couple, the young woman clinging with both arms to her lover. The man, a self-portrait of Schiele, stares into space. The fragile balance—the artist is alluding to this in the figures’ unstable poses—seems as if it could shatter at any moment. The girl is his long-term partner and model Wally Neuzil. He had split up with her to marry Edith Harms, who was from a middle-class family. After their separation, Neuzil trained as a nurse. In 1917 she died of scarlet fever during her wartime deployment.Paintinghttps://sammlungtest.belvedere.at/objects/1968/rdf/internal/media/dispatcher/4895/fullVillage Landscape1912–1913[Fernand Léger]Fernand LégerOil on canvasPaintinghttps://sammlungtest.belvedere.at/objects/8328/rdf/internal/media/dispatcher/70896/fullSchloss Kammer on Lake Attersee III1911/1912[Österreichische Galerie, Gustav Ucicky, Österreichische Galerie, Ferdinand und Adele Bloch-Bauer, Gustav Klimt, Erich Führer, Ingeborg Anna Ucicky, Ferdinand Bloch-Bauer]Gustav KlimtOil on canvas “Arrived safely, forgot my opera glasses—need them badly,” Klimt reported to his sister Hermine in 1915 from his vacation home on Lake Attersee. The artist’s need during his summer vacation for optical aids—a telescope as well as opera glasses—becomes apparent from this painting: the lakeside facade of Schloss Kammer. Klimt probably captured it on canvas from the opposite shore using a telescope. The zoom effect causes the trees, the low front wing, and the red roof of the main building behind to appear as if on a single plane. With its softly out-of-focus reflections, the lake portion also appears to be part of the resulting two-dimensional image.Paintinghttps://sammlungtest.belvedere.at/objects/3112/rdf/internal/media/dispatcher/110724/fullSunflowers I1911[Egon Schiele]Egon SchieleOil on canvasWithered and parched, the brown leaves droop. Large flower heads gaze feebly at their young blooms below, but even these small fresh blossoms cannot halt the decay. Like Gustav Klimt, Schiele’s penchant for sunflowers was probably inspired by Vincent van Gogh. However, the young painter radically departed from Klimt’s decorative legacy. Instead, Schiele’s expressive works are full of contortions, distortions, and deformations. Even individual sunflowers become a reflection of spiritual turmoil and a symbol of all that is transient. “I am human. I love death and I love life,” Schiele once declared.Paintinghttps://sammlungtest.belvedere.at/objects/8294/rdf/internal/media/dispatcher/3517/fullStill Life with Mutton and Haycinth1910[Oskar Kokoschka]Oskar KokoschkaOil on canvasThe artist a “mangy creature,” his pictures “repugnant buboes reeking of a foul smell.” It was above all Kokoschka’s wild, expressive style of painting that prompted art critics to man the barricades. And they were also appalled by his crude scratches into the oil paint and his experimental approach to traditional and religious themes. This still life was painted following an Easter invitation to the house of Dr. Oskar Reichel, an internist and collector. It shows a dead sheep, a tortoise, a mouse, and an amphibian, and a mysteriously shining hyacinth, all found at the collector’s home. Kokoschka grouped them into a haphazard arrangement of novel symbols of transience and redemption.Paintinghttps://sammlungtest.belvedere.at/objects/8158/rdf/internal/media/dispatcher/54397/fullJoseph Relating his Dreams1910[Emil Nolde]Emil NoldeOil on canvasIntensive Farben und bewegte Pinselstriche bestimmen diese Bibelszene des deutschen Malers Nolde. Sie zeigt Josef, der seinen Brüdern von nächtlichen Visionen berichtet und dafür nur Spott und Hohn erntet. Mit geschlossenen Augen konzentriert sich der schmale junge Mann auf innere Bilder, während die groben Gesichter der anderen Männer zu bedrohlichen Fratzen geraten. Auch der Einzelgänger Nolde mag sich als Außenseiter gefühlt haben. Seine charakteristische Bildsprache stieß auf wenig Verständnis. Ab den späten 1930er-Jahren galt sein Werk den Nationalsozialisten als Paradebeispiel „entarteter Kunst“. 1941 wurde er, trotz seiner Sympathie für das NS-Regime, mit einem Berufsverbot belegt.Paintinghttps://sammlungtest.belvedere.at/objects/8209/rdf/internal/media/dispatcher/146058/fullWoman Bathing with Blond Open Hairc. 1903[Pierre Auguste Renoir]Pierre Auguste RenoirOil on canvasPaintinghttps://sammlungtest.belvedere.at/objects/8214/rdf/internal/media/dispatcher/155617/fullStill Life with Flowersc. 1834[Eugène Delacroix]Eugène DelacroixOil on canvasGeorge Sand wanted this floral still life to be always in view. It was for her, France’s most famous female writer of the nineteenth century, that Delacroix painted this work. Whether it is indeed the artist’s first painting of flowers is unknown. But this does not detract from its importance as a work of art. Delacroix worked entirely with color; there are no clearly defined shapes or lines. His motivation was not botanical precision but the interplay of the colors, which he applied as contrasts, in enhancing juxtapositions, or radiant in their own right. Delacroix was thus well ahead of his time; his flower paintings and those of the Viennese Biedermeier era are poles apart. Paintinghttps://sammlungtest.belvedere.at/objects/8255/rdf/internal/media/dispatcher/159893/fullRocky Landscape in the Elbe Sandstone Mountains1822/1823[Caspar David Friedrich]Caspar David FriedrichOil on canvasThe rocks forming the gate to Neurathen Castle in the Elbe Sandstone Mountains, southeast of Dresden, soar into the sky. Before them our gaze traverses a ravine with trees clinging to its steep slopes—some that are lush green, others that are dead. A mighty uprooted tree cuts through the picture space in a diagonal. It forms a break in the image, separating the view of the chasm from the lofty heights of the rock gate. All of this is symbolic: trees, ravine, and rocky pinnacle represent the genesis and demise of all that is earthly, are visual metaphors of both the divine and of death. When this was painted in the early 1820s there were already hiking trails in the Elbe Sandstone Mountains and a footbridge leading to the gate of Neurathen rock castle, but these have not been depicted by Friedrich. The rocks forming the gate to Neurathen Castle in the Elbe Sandstone Mountains, southeast of Dresden, soar into the sky. Before them our gaze traverses a ravine with trees clinging to its steep slopes—some that are lush green, others that are dead. A mighty uprooted tree cuts through the picture space in a diagonal. It forms a break in the image, separating the view of the chasm from the lofty heights of the rock gate. All of this is symbolic: trees, ravine, and rocky pinnacle represent the genesis and demise of all that is earthly, are visual metaphors of both the divine and of death. When this was painted in the early 1820s there were already hiking trails in the Elbe Sandstone Mountains and a footbridge leading to the gate of Neurathen rock castle, but these have not been depicted by Friedrich. Paintinghttps://sammlungtest.belvedere.at/objects/8389/rdf