42/internal/media/dispatcher/153752/fullJohannes Lindner (White Portrait)1919[Herbert Boeckl]Herbert BoecklOil on canvasEin „Star“ im Scheinwerferlicht? In ungezwungener Haltung und angenehmer Atmosphäre scheint Johannes Lindner (1896–1985) dem Künstler gegenüberzusitzen. Boeckl schildert den Kärntner Lyriker und Erzähler als Summe von expressiven kühlen Farbtönen. Der Grad der Abstraktion führt dazu, dass sich das Motiv nicht sofort erschließt, sondern entdeckt werden muss. Im Entstehungsjahr des Gemäldes gab Boeckl sein Architekturstudium in Wien endgültig auf, um sich nur noch der Malerei zu widmen. Mit Werken wie diesem stellt er einen ausgeprägten Personalstil unter Beweis, der innerhalb der österreichischen Kunstszene keine Parallele finden sollte.Paintinghttps://sammlungtest.belvedere.at/objects/14394/rdf/internal/media/dispatcher/107809/fullGeneral Gottfried Seibt von Ringenhart1918[Anton Kolig]Anton KoligOil on woodGeneral Gottfried Seibt von Ringenhart (1857-1937), seit 1914 als General der Infanterie im Ruhestand, leitete während des Ersten Weltkriegs verschiedene Unternehmungen der Kriegsfürsorge. Ab 1917 war er Vorstand des Kriegsfürsorgeamtes.Paintinghttps://sammlungtest.belvedere.at/objects/2138/rdf/internal/media/dispatcher/94719/fullSquatting Couple (The Family)1918[Egon Schiele]Egon SchieleOil on canvasA man and a woman, both nude, are crouching in a dark room. A child peers out from between the woman’s legs. Positioned protectively behind them both, the man with alert eyes reveals Schiele’s features. His bony body contrasts with the woman’s soft curves, who looks down, lost in thought. Despite their physical proximity, the two bodies appear isolated. Schiele’s own family would never come into existence. His wife Edith died of Spanish flu on October 28, 1918, when she was six months pregnant. Egon Schiele died three days later. Art critic Berta Zuckerkandl thereupon first used the title “The Family” for Squatting Couple.Paintinghttps://sammlungtest.belvedere.at/objects/3071/rdf/internal/media/dispatcher/5283/fullWoman in White1917/1918[Gustav Klimt, Broncia Koller-Pinell]Gustav KlimtOil on canvas (unfinished) Lady in White is one of the unfinished paintings found in Gustav Klimt’s studio after his death. It is a good example of the painter’s approach in his late period: Klimt positioned his unknown model within the square canvas so as to form a diagonal that divides the picture space. This creates three sections in the composition, with the figure at the center, a light background on the left, and a dark surface opposite. While the visible brushwork is typical of Klimt’s late paintings, the pronounced flatness of the image is a characteristic of Viennese Jugendstil. Paintinghttps://sammlungtest.belvedere.at/objects/3080/rdf/internal/media/dispatcher/128260/fullJohanna Staude1917/1918[Gustav Klimt, Johanna Staude]Gustav KlimtOil on canvas Johanna Staude gazes back at us with shining blue eyes. Gustav Klimt shows the young woman against an orange-red background with a fashionable hairstyle and wearing a dress with a striking pattern. It is named after a Wiener Werkstätte fabric called „Blätter“ (Leaves) and was designed by Martha Albers, a graduate from the Vienna School of Applied Arts. Wrapped around the sitter’s throat is a feather boa that draws our attention to her face. This serene and simple composition was one of Klimt’s last female portraits. The painter was a friend of Johanna Staude and she probably modeled for him on repeated occasions. Address directories document that she was also a language teacher and artist.Paintinghttps://sammlungtest.belvedere.at/objects/4302/rdf/internal/media/dispatcher/153749/fullRomana Kokoschka, the Artist's Mother1917[Oskar Kokoschka]Oskar KokoschkaOil on canvasDas Bildnis der Mutter Romana Kokoschka entstand bei einem Besuch in Dresden, wo sich der Künstler seit Dezember 1916 aufhielt. Als die Mutter abreist ist das Bild noch unvollendet. Kokoschka verlangte zur Fertigstellung eine unretouchierte, überfeinerte Fotografie als Vorlage (Brief Kokoschkas an seine Mutter, 19. Juli 1917). Dunkle Farbakkorde mit grün und blau dominieren die Fläche. Der pastose, breite Pinselstrich ist wellig und lässt einen Kontrast zwischen dem Bildmotiv der in sich ruhenden Mutter und dem dynamischen Bildgewebe entstehen. Kokoschka verzichtet in seinem Porträt der Mutter auf die Technik der kratzenden grafischen Schraffur, wie sie noch im Rentmeister zum Einsatz kam. Bereits ein Jahr zuvor setzte sich der damalige Direktor Fritz Novotny vehement für den Ankauf des Bildes ein: "Wir brauchen unter uns kaum ein Wort darüber zu verlieren, dass es sich um ein sehr bedeutendes Werk des Künstlers handelt und dass es eine wichtige Erwerbung für unser Museum wäre." (Archiv d. Österreichischen Galerie, Akt Zl. 425/1968). Kurzzeitig drohte der Ankauf aus finanziellen Gründen gar zu scheitern, ehe im März 1968 das Ministerium die Ankaufssumme bewilligte. Am 30. Mai 1968 wurde der Ankauf des Bildes der Wiener Presse vorgestellt. — [Harald Krejci, 4/2010]Paintinghttps://sammlungtest.belvedere.at/objects/4589/rdf/internal/media/dispatcher/52844/fullAmalie Zuckerkandl1913/14 (possibly also still in 1917) (unfinished)[Gustav Klimt, Amalie und Otto Zuckerkandl, Amalie Zuckerkandl, Hermine Müller-Hofmann, Ferdinand Bloch-Bauer]Gustav KlimtOil on canvas The sitter is Amalie Zuckerkandl, wife of the surgeon Otto Zuckerkandl and sister-in-law of the well-known writer Berta Zuckerkandl. This unfinished portrait clearly demonstrates Gustav Klimt’s method of working. As in all of his late portraits, his starting point was the face while the body and clothes are initially only indicated using sketchy strokes. Klimt was given the commission in 1913/14, but progress was interrupted when the Zuckerkandls moved house. In 1917 he resumed work on the portrait, yet it was never finished due to Klimt’s unexpected death early the following year. Amalie Zuckerkandl was left impoverished after the couple divorced. In 1942 she was deported by the Nazis and murdered at Bełžec extermination camp in Poland. Paintinghttps://sammlungtest.belvedere.at/objects/7488/rdf/internal/media/dispatcher/160632/fullBride1917/1918[Gustav Klimt]Gustav KlimtOil on canvas When Gustav Klimt died unexpectedly in February 1918, this colorful work was found unfinished on the easel in his studio. At the center of the painting is a young woman in blue, tilting her head dreamily toward the man on the left in the picture. He is surrounded by sensual, intertwined bodies, but he looks only at the woman by his side. There are still many puzzles surrounding this painting. Is Klimt exploring male desire? Or is the painting a symbol of a woman’s journey from child to adult and even to motherhood? Klimt depicted the relationship between man and woman one last time in this large allegorical work. The Bride was only added as the title after the artist’s death. Paintinghttps://sammlungtest.belvedere.at/objects/9020/rdf/internal/media/dispatcher/160537/fullAdam and Eve1916 - 1918[Gustav Klimt, Sonja Knips, Galerie Gustav Nebehay]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/83378/fullMother with Two Children III1915-1917[Egon Schiele]Egon SchieleOil on canvasPaintinghttps://sammlungtest.belvedere.at/objects/3267/rdf/internal/media/dispatcher/12685/fullStanding Youthc. 1915[Koloman Moser]Koloman MoserOil on canvasZu diesem Gemälde existiert eine gerasterte Figurenstudie (Sotheby’s London, Vienna 1900, 23.9.1993, Nr. 173). Das Gemälde wurde in Fälschungsabsicht mit dem Namen Ferdinand Hodlers versehen und gleichzeitig die Lesbarkeit des Nachlassstempels reduziert.Paintinghttps://sammlungtest.belvedere.at/objects/1414/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/97122/fullAvenue to Schloss Kammer1912[Gustav Klimt]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]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/70896/fullSchloss Kammer on Lake Attersee III1911/1912[Gustav Klimt, Ferdinand Bloch-Bauer, Erich Führer, Ingeborg Anna Ucicky, Gustav Ucicky, Ferdinand und Adele 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/109704/fullMother with Two Children (Family)1909/1910[Gustav Klimt, Gustav Klimt, Helene Mayer, Richard Parzer]Gustav KlimtOil on canvas Exhausted, the young mother has drifted off to sleep, cradling her two small children in her arms. The family is wrapped in a pile of dark blankets that keep them warm and seem to merge with the undefined space around them. Only their sleeping faces seem to shine through the darkness. Are the three sitting in a dark room, or outside, or even on the street? Gustav Klimt’s contemporaries recognized the subjects as a family living on the fringes of society. The choice of subject is unusual in Klimt’s oeuvre, as he never addressed poverty in any other painting. Nevertheless, the timeless theme of the painting seems to be one of tender maternal love.Paintinghttps://sammlungtest.belvedere.at/objects/27315/rdf/internal/media/dispatcher/140353/fullThe Kiss (Lovers)1908 (finished 1909)[Gustav Klimt]Gustav KlimtFigures: gold leaf, silver leaf, platinum leaf, resin oil colors on primed canvas (zinc paint). – Background: Composition gold (brass), glazed, flakes of metal leaf “The Kiss”, probably Klimt’s most famous work, was painted at the height of his Golden Period without a direct commission. It shows a couple, melting into one, at the edge of a meadow of flowers. Only the different patterning of the robes distinguishes their bodies that are enveloped in a shimmering golden halo. Klimt actually used real gold leaf, silver, and platinum in his picture. He presumably started work on it in 1907 and exhibited the painting at the Kunstschau in June the following year under the title “Lovers”. From this show, the Ministry of Art purchased it for the Modern Gallery—now the Belvedere—for a price that was high even then. In autumn 1909, a catalogue of this museum cited the work for the first time as “The Kiss”, the title by which it is world famous today.Paintinghttps://sammlungtest.belvedere.at/objects/6678/rdf/internal/media/dispatcher/115111/fullFlowering Poppies1907[Gustav Klimt]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/114741/fullSunflower1907/1908[Gustav Klimt, Gustav Klimt, Richard Parzer]Gustav KlimtOil and gold leaf on canvas Gustav Klimt shows a single, majestic sunflower in the middle of this square composition that is entirely covered by a green hedge resembling a patterned tapestry. The head of the sunflower inclines slightly, while its leaves seem to protectively curl over the dense array of bright summer flowers at its base. Time and again Klimt’s sunflower has been seen to have human characteristics, its form reminiscent of the medieval Virgin of Mercy sheltering figures under her cloak. The famous art critic from the Vienna Secession Ludwig Hevesi described it as a “fairy in love.” Others have even seen the sunflower as a hidden portrait of the designer Emilie Flöge.Paintinghttps://sammlungtest.belvedere.at/objects/21865/rdf/internal/media/dispatcher/118781/fullFritza Riedler1906[Gustav Klimt]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]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]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/83180/fullJudith1901[Gustav Klimt, Berthe Hodler, Anton Loew, Sophie Loew-Unger]Gustav KlimtOil and gold leaf on canvas The biblical story of the brave Judith has often been depicted in art. Judith, a chaste widow, gets the enemy commander Holofernes drunk with divine help, and then beheads him to free her people. Gustav Klimt interprets the Old Testament heroine as an erotic femme fatale. She gazes seductively at the viewer through half-closed eyes, her lips slightly parted. Only on closer inspection do we see the decapitated head of Holofernes. Judith holds it almost tenderly, as if to push it out of the picture. In Klimt’s painting there is no room for the male aggressor. He has transformed the biblical story of resistance in a political conflict into a battle of the sexes, and Judith’s triumph into a dangerously tantalizing icon of femininity.Paintinghttps://sammlungtest.belvedere.at/objects/3492/rdf/internal/media/dispatcher/3811/fullBeethoven Frieze: Longing for Happiness1901-1902[Gustav Klimt]Gustav KlimtKaseinfarben, Stuckauflagen, Zeichenstift, Applikationen aus verschiedenen Materialien (Glas, Perlmutt etc.), Goldauflagen auf Mörtel The Fourteenth Secession exhibition in 1902 was a Gesamtkunstwerk (total work of art) akin to a temple and was dedicated to Ludwig van Beethoven. Klimt created his Beethoven Frieze directly on the walls of the left side room. In this revolutionary work, the artist discarded any illusion of pictorial space. The human figure is no longer an individual but a symbolic bearer of meaning composed of lines and planes. Klimt’s pictorial program is based on Richard Wagner’s descriptive interpretation of Beethoven’s Ninth Symphony. It tells of humanity overcoming various perils in its quest for happiness. The subject of the final section in Klimt’s Beethoven Frieze is the coming together of humankind in the ideal realm of the arts.Paintinghttps://sammlungtest.belvedere.at/objects/4737/rdf/internal/media/dispatcher/4119/fullOld Man on his Death-Bed1900[Gustav Klimt]Gustav KlimtOil on millboard Depictions of the deceased appear frequently in Klimt’s oeuvre, but are usually not shown to the public due to the highly personal nature of the subject matter. In most cases, the people can be clearly identified. Not so in the case of this portrait, where the identity of the old man has yet to be fully determined and continues to puzzle scholars. Klimt often painted such portraits immediately after death, sometimes on the very day of the subject’s passing. This painting is dated 1900, which may indicate the year of the man’s death. The work was probably cropped, as only a fragment of the original composition is visible today.Paintinghttps://sammlungtest.belvedere.at/objects/9957/rdf/internal/media/dispatcher/32879/fullGustav Klimt and Emilie Flöge1899[Unbekannte*r Fotograf*in]Unbekannte*r Fotograf*inFerrotype in passepartoutPhotographyhttps://sammlungtest.belvedere.at/objects/18169/rdf/internal/media/dispatcher/4073/fullAfter the Rain1898[Gustav Klimt]Gustav KlimtOil on canvasGustav Klimt spent his first summer vacation in the Salzkammergut region in August 1898. He resided for several weeks at Sankt Agatha near Steeg on Hallstatt Lake in the company of the Flöge family. During his stay, he created four landscape paintings, including After the Rain. Even in these early landscapes, Klimt’s soft brushwork, conveying a fleeting impression, attests that he was particularly influenced by the style of the French Impressionists. The artist also drew inspiration from Japanese woodblock prints. After the Rain was the first work by Klimt to enter the collection in 1900, three years before the opening of the Moderne Galerie at the Lower Belvedere.Paintinghttps://sammlungtest.belvedere.at/objects/6087/rdf/internal/media/dispatcher/17188/fullRed Sketchbook1898[Gustav Klimt]Gustav KlimtBooklet bound in red leather, drawings and notes in pencil and a black and white photo Gustav Klimt used this red leather-bound sketchbook beginning in 1898 to capture his spontaneous ideas, including sketches for the works Nuda Veritas (1899), Judith I (1901), Will-o’-the-Wisp (1903), Philosophy (1900), and Jurisprudence (1903). The booklet turned up in the estate of Sonja Knips, one of Klimt’s most prominent patrons. In her portrait, dated 1898, Knips can be seen holding the sketchbook. The artist probably presented it to her either during or immediately after the portrait sessions. Historical records suggest that Klimt used many red sketchbooks like this one, but almost all were lost in a fire at Emilie Flöge’s apartment in 1945.Drawing arthttps://sammlungtest.belvedere.at/objects/9997/rdf/internal/media/dispatcher/118782/fullSonja Knips1897/1898[Gustav Klimt, Sonja Knips]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/4046/fullLady at the Fireplace1897/1898[Gustav Klimt, Editha und Hermann Bauch, Friedrich Stadler-Wolffersgrün, Unbekannter Besitz, Friedrich Viktor Stadler-Wolffersgrün]Gustav KlimtOil on canvas The fashionable young woman sitting by the fireplace is depicted by Gustav Klimt as lost in thought. The dim lighting blurs her silhouette, while the warm glow of the fire is only vaguely discernible. The sitter exudes cosmopolitan sophistication, and her dreamy demeanor is consistent with the melancholy portrayal of women prevalent at the time in literature. The circumstances surrounding the painting’s creation remain unknown. However, anonymous portraits of women were a common theme in Klimt’s work. In this work, rather than characterizing a specific individual, the artist sought to capture a particular perspective on life.Paintinghttps://sammlungtest.belvedere.at/objects/4185/rdf/internal/media/dispatcher/148283/fullJosef Lewinsky as Carlos in Clavigo1895[Gustav Klimt]Gustav KlimtOil on canvas Klimt depicts the court actor Josef Lewinsky as Carlos in Goethe’s tragedy, performing on stage. The surrounding scene is shrouded in darkness, revealing only the actor’s pale face, collar, and cuffs. An antique tripod frames the scene on the right, emitting smoke from which a laughing woman holding a mask emerges. Hovering above her is Dionysus, the god of wine, to whom the world’s first theater was dedicated. Klimt’s painting was commissioned by the Gesellschaft für vervielfältigende Kunst (Society for Reproducing Art) to illustrate the book Das k. k. Hofburgtheater seit seiner Begründung (The Imperial and Royal Hofburg Theater since Its Foundation), which documented the history of Viennese theater. The painter thus placed the Hofburgtheater in the tradition of the ancient Greek theater.Paintinghttps://sammlungtest.belvedere.at/objects/6234/rdf/internal/media/dispatcher/42881/fullLetter from Gustav Klimt to Emilie Flöge18/11/1895[Gustav Klimt]Gustav KlimtBlack ink on paperArchive materialhttps://sammlungtest.belvedere.at/objects/29844/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/107384/fullPortrait of a Womanc. 1893/1894[Gustav Klimt]Gustav KlimtOil on canvas The young woman wearing a black evening gown was a close friend of the fashion designer Emilie Flöge, Gustav Klimt’s lifelong companion. For her portrait Klimt selected a vertical format that emphasizes the figure’s slim silhouette. Her porcelain complexion and her necklace are rendered with the same delicate precision as the tapestry on the wall. The artist worked in this highly realistic style in the years around 1890 in a way that reveals the influence of photography. He would also use photography to help compose his later paintings. It is Klimt’s first society portrait of a woman. After Hans Makart’s death, Klimt became the most sought-after portraitist of the Viennese upper classes.Paintinghttps://sammlungtest.belvedere.at/objects/21938/rdf/internal/media/dispatcher/4120/fullFrancesca da Rimini and Paoloc. 1890[Ernst Klimt]Ernst KlimtOil on canvasPaintinghttps://sammlungtest.belvedere.at/objects/10093/rdf/internal/media/dispatcher/87121/fullStill Life with Armorc. 1885[Ernst Klimt]Ernst KlimtOil on canvas on cardboardDas Stillleben stellt zwei Teile einer bislang nicht identifizierten Rüstung dar. Die Sturmhaube ist eine freie Nachahmung der sogenannten "Bourguignote à la chimère" aus dem Pariser Musée de l‘ Armée (Inv. Nr. H 254).Paintinghttps://sammlungtest.belvedere.at/objects/1468/rdf/internal/media/dispatcher/3990/fullAllegory of Sacred Music (Female Organ Player)1884[Gustav Klimt, Gustav Klimt]Gustav KlimtOil on canvas A female organist, dressed in a luxurious blue silk robe, kneels before her instrument. The figure is accompanied by a cittern-playing angel hovering just above her head, as well as a pair of singing cherubs. This sketch was made in preparation for a ceiling fresco for the Municipal Theater in Fiume (Rijeka), which was to be executed the following year by the studio of the Klimt brothers and Franz Matsch. The proposed theme was a cycle of allegories on the various genres of music. Klimt’s design is an allegory of sacred music. The figure’s kneeling posture symbolizes the sanctified aspect and transforms the organ into an altar. The musician’s transfigured gaze toward the heavens is also indicative of this.Paintinghttps://sammlungtest.belvedere.at/objects/471/rdf/internal/media/dispatcher/34409/fullStudy for a Lunette of the National Theatre in Rijeka1884/1885[Ernst Klimt]Ernst KlimtOil on canvasDie Ausführung des Entwurfs befindet sich über der linken Proszeniumloge des Kroatischen Nationaltheaters in Rijeka. Im Oberösterreichischen Landesmuseum befindet sich ein füher Gustav und inzwischen ebenfalls Ernst Klimt zugeschriebener Entwurf für das Gemälde über der rechten Proszeniumloge. Ernst Klimt schuf für diesen AUftrag auch ein großes allegorisches Gemälde über dem Proszenium, während Gustav Klimt und Franz Matsch je drei große Deckenbilder malten.Paintinghttps://sammlungtest.belvedere.at/objects/13906/rdf/internal/media/dispatcher/42879/fullMale Nude1883[Gustav Klimt, Gustav Klimt, Gustav Klimt, Walter Reinhardt, Theresia Reinhardt]Gustav KlimtOil on canvas This study of a male nude is one of the earliest known paintings by Gustav Klimt. It is a prime example of academic teaching. Klimt was a student in the decorative painting class at the Imperial and Royal Arts and Crafts School in Vienna and thus had access to academic training as a history painter. Works such as this were not intended to be sold on the art market, but were created as practice pieces. The model is kneeling on plain, stacked wooden crates in an unadorned studio space. With his right hand in a defensive position, the pose is reminiscent of figures found on ancient battle sarcophagi. Klimt thus studied a classical pictorial formula in the most naturalistic way possible.Paintinghttps://sammlungtest.belvedere.at/objects/4742/rdf/internal/media/dispatcher/38908/fullHermine and Klara Klimtc. 1882[Franz von Matsch]Franz von MatschOil on canvasPaintinghttps://sammlungtest.belvedere.at/objects/29687/rdf