40/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/159666/fullStill Life with Three Apples and Cheese in Tin Foil1886[Carl Schuch]Carl SchuchOil on canvasPaintinghttps://sammlungtest.belvedere.at/objects/654/rdf/internal/media/dispatcher/7335/fullDunes at Katwijk1886[Eugen Jettel]Eugen JettelOil on canvasPaintinghttps://sammlungtest.belvedere.at/objects/483/rdf/internal/media/dispatcher/6889/fullView of Giessen (North Brabant)1886[Eugen Jettel]Eugen JettelOil on canvasPaintinghttps://sammlungtest.belvedere.at/objects/6499/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/157499/fullIn the Forest near Saut du Doubsc. 1887[Carl Schuch]Carl SchuchOil on canvasPaintinghttps://sammlungtest.belvedere.at/objects/100/rdf/internal/media/dispatcher/142781/fullFishermen on the Seine near Poissy1882[Claude Monet]Claude MonetOil on canvasPaintinghttps://sammlungtest.belvedere.at/objects/294/rdf/internal/media/dispatcher/4857/fullFishermen’s Children in Zandvoort1882[Fritz von Uhde]Fritz von UhdeOil on canvas A paved path leads into a rear courtyard. Several girls can be seen standing in front of the facades of simple wooden houses. Some lean against the walls, some are busy with needlework. In the background, laundry hung on a line blows in the breeze. Calmly and attentively, the children meet the painter’s gaze. Fritz von Uhde, who came from Saxony and worked in Munich, captured this scene during his stay in the Dutch fishing town of Zandvoort. Like a photographer, he soberly portrays this glimpse into everyday life. The muted colors convey the mood of a rainy, cool day without any sort of embellishment. The following year, Uhde applied this motif to his large-format painting Der Leierkastenmann kommt (Arrival of the Organ Grinder). Paintinghttps://sammlungtest.belvedere.at/objects/6286/rdf/internal/media/dispatcher/12517/fullReed Landscape on Lake Schwielowsee with Ducks1881[Carl Schuch]Carl SchuchOil on canvasPaintinghttps://sammlungtest.belvedere.at/objects/655/rdf/internal/media/dispatcher/159668/fullStill Life with Wild Duck and Hunting Bag I1881[Carl Schuch]Carl SchuchOil on canvasPaintinghttps://sammlungtest.belvedere.at/objects/4276/rdf/internal/media/dispatcher/16085/fullStill Life with White Bowlc. 1885[Carl Schuch]Carl SchuchOil on canvasPaintinghttps://sammlungtest.belvedere.at/objects/2628/rdf/internal/media/dispatcher/9497/fullLarge Kitchen Still Life1879[Carl Schuch]Carl SchuchOil on canvasPaintinghttps://sammlungtest.belvedere.at/objects/99/rdf/internal/media/dispatcher/159664/fullStill Life with, Pumpkin, Peaches and Grapesc. 1884[Carl Schuch]Carl SchuchOil on canvasPaintinghttps://sammlungtest.belvedere.at/objects/368/rdf/internal/media/dispatcher/6894/fullMoorlands1879[Eugen Jettel]Eugen JettelOil on woodPaintinghttps://sammlungtest.belvedere.at/objects/8343/rdf/internal/media/dispatcher/9521/fullSailboat on the Havel River1878[Carl Schuch]Carl SchuchOil on canvasPaintinghttps://sammlungtest.belvedere.at/objects/653/rdf/internal/media/dispatcher/7416/fullRosine Fischler, Countess of Treuberg1877[Wilhelm Leibl]Wilhelm LeiblOil tempera on woodPaintinghttps://sammlungtest.belvedere.at/objects/509/rdf/internal/media/dispatcher/16017/fullThe Artist's Studio in Venice1877[Carl Schuch]Carl SchuchOil on canvasCarl Schuch painted his studio in such a way that we feel we are standing in the middle of the room ourselves. A staircase guides our gaze upward, while a group of seats is arranged in front of it. Books are stacked in the shelves, and a piano is further evidence of creativity. The brushstrokes—some swift, some carefully placed—add lively touches. This Viennese painter regularly spent the winter months from 1876 to 1882 in Venice. It was here that he rented the spacious studio depicted in this large-format view. Schuch’s exploration of art theory at the time is recorded in his notebooks, now in the Belvedere archives. Paintinghttps://sammlungtest.belvedere.at/objects/4094/rdf/internal/media/dispatcher/4755/fullBeech Grove with Couple1876[Wilhelm Trübner]Wilhelm TrübnerOil on canvasPaintinghttps://sammlungtest.belvedere.at/objects/702/rdf/internal/media/dispatcher/47388/fullSelf-Portraitc. 1875-1876[Carl Schuch]Carl SchuchOil on canvasPaintinghttps://sammlungtest.belvedere.at/objects/370/rdf/internal/media/dispatcher/19775/fullLandscape on the Main River1875[Hans Thoma]Hans ThomaOil on canvasPaintinghttps://sammlungtest.belvedere.at/objects/2193/rdf/internal/media/dispatcher/3787/fullLady in a Furc. 1880[Édouard Manet]Édouard ManetPastel on canvasShe gazes self-confidently out of the picture. Her hair has been carefully styled, her fur draped casually over her shoulders. The young woman seems about to go out, were it not for the flimsy blouse barely concealing her breast. Titian and Peter Paul Rubens both painted famous portraits of women clad only in a fur wrap. But Manet’s interpretation is completely different from his famous predecessors. Rather than an elevated or detached image, this appears to be an authentic snapshot of Parisian life at the time. The impression of spontaneity is further heightened by the artist’s chosen medium of pastel. He applied the pastel crayon both roughly and with great delicacy, an impression that is simultaneously sketchy and subtle.Drawing arthttps://sammlungtest.belvedere.at/objects/2661/rdf/internal/media/dispatcher/139895/fullCaesar at the Rubiconc. 1878[Wilhelm Trübner]Wilhelm TrübnerOil on canvas The title of this work already reveals the drama of the moment. Caesar at the Rubicon refers to the Roman ruler who, in 49 BCE, crossed the river Rubicon with his army along the upper Italian border as they marched toward Rome to defeat his rival, Pompey. The painting’s title is therefore to be understood in the sense of a special challenge. Wilhelm Trübner, who was close to the Munich circle of painters led by Wilhelm Leibl, transferred this turn of phrase to this still life with a dog. Answering to the name of Caesar, the artist’s Great Dane was put to the test with a tasty bratwurst placed right in front of its snout. Paintinghttps://sammlungtest.belvedere.at/objects/10015/rdf/internal/media/dispatcher/13121/fullMilitia Officer1872[Wilhelm Trübner]Wilhelm TrübnerOil on canvasPaintinghttps://sammlungtest.belvedere.at/objects/204/rdf/internal/media/dispatcher/164228/fullStormy Sea (Rough Sea)c. 1871[Virgilio Narcisso Díaz de la Peña]Virgilio Narcisso Díaz de la PeñaOil on canvasPaintinghttps://sammlungtest.belvedere.at/objects/8290/rdf/internal/media/dispatcher/159663/fullCliff Landscape near Olevano1870[Carl Schuch]Carl SchuchOil on canvasPaintinghttps://sammlungtest.belvedere.at/objects/122/rdf/internal/media/dispatcher/6897/fullThe Château du Saulce (Département Yonne)1869[Henri Harpignies]Henri HarpigniesOil on canvasPaintinghttps://sammlungtest.belvedere.at/objects/9809/rdf/internal/media/dispatcher/70872/fullForest Clearing near Purkersdorfc. 1872[Carl Schuch]Carl SchuchOil on cardboardPaintinghttps://sammlungtest.belvedere.at/objects/256/rdf/internal/media/dispatcher/4825/fullWater Meadows in Autumn1867[Charles-François Daubigny]Charles-François DaubignyOil on canvasPaintinghttps://sammlungtest.belvedere.at/objects/3261/rdf/internal/media/dispatcher/12066/fullLandscape in the Sabine Hillsc. 1870[Carl Schuch]Carl SchuchOil on canvasPaintinghttps://sammlungtest.belvedere.at/objects/121/rdf/internal/media/dispatcher/36432/fullHühnerhofc. 1870[Charles Émile Jacque]Charles Émile JacqueOil on woodPaintinghttps://sammlungtest.belvedere.at/objects/390/rdf/internal/media/dispatcher/4783/fullAgathe Thoma, the Artist's Sisterc. 1868[Hans Thoma]Hans ThomaOil on canvas, mounted on cardboardPaintinghttps://sammlungtest.belvedere.at/objects/2457/rdf/internal/media/dispatcher/153744/fullThe Plain of Chailly with Harrow and Plough1862[Jean-François Millet]Jean-François MilletOil on canvasPaintinghttps://sammlungtest.belvedere.at/objects/8250/rdf/internal/media/dispatcher/12046/fullTal mit Gebirge1861[Ludwig Halauska]Ludwig HalauskaOil on canvasPaintinghttps://sammlungtest.belvedere.at/objects/4150/rdf/internal/media/dispatcher/12045/fullAlpine Valley with River Bend1860[Ludwig Halauska]Ludwig HalauskaOil on canvas on cardboardPaintinghttps://sammlungtest.belvedere.at/objects/4149/rdf/internal/media/dispatcher/5377/fullThe Shady Streamc. 1865[Gustave Courbet]Gustave CourbetOil on canvasDiesen einsamen Platz an einer von Bäumen bewachsenen und von einem Bachlauf durchbrochenen Felslandschaft malte Gustave Courbet etwa vierzigmal. Zum einen wegen der ungeheuren Nachfrage - die Pariser realisierten schon zu jener Zeit, dass die unberührte Natur einen erholsamen Gegensatz zu ihrer Alltagswelt darstellte - zum anderen aber auch, weil Courbet an diesem Motiv die unterschiedlichsten Lichtwirkungen der verschiedenen Tages- und Jahreszeiten studierte. Vergleiche der einzelnen Variationen zeigen, dass Courbet durchaus nicht sklavisch der Naturvorlage verpflichtet war, sondern diese nach seinem jeweiligen Interesse veränderte: Das Bild des Belvedere zeigt "Das schwarze Loch" (so der Name des dargestellten Ortes) vor allem als einen Bachlauf, der von Bäumen so sehr beschattet ist, dass das helle Licht eines Sommertages, wie man ihn rechts oben durch ein Loch in der Bewaldung sehen kann, nicht bis unten durchzudringen vermag. Das Licht wird links von der glatten Felswand reflektiert, das Wasser aber liegt im Dunkeln. Dieser Gegensatz von Licht und Schatten prägt die besondere Stimmung in diesem Bild. — [Dietrun Otten, 2003]Paintinghttps://sammlungtest.belvedere.at/objects/6709/rdf/internal/media/dispatcher/36433/fullChicken in Front of a Farmhouse1850/1860[Constant Troyon]Constant TroyonOil on woodPaintinghttps://sammlungtest.belvedere.at/objects/7919/rdf/internal/media/dispatcher/13163/fullStudy of a Horseundated[Carl Schuch]Carl SchuchOil on canvasPaintinghttps://sammlungtest.belvedere.at/objects/369/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/14381/fullThe Liberation of Saint Peterc. 1750[Unbekannter Künstler]Unbekannter KünstlerTerracottaSculpturehttps://sammlungtest.belvedere.at/objects/2073/rdf