12/internal/media/dispatcher/49593/fullStill Pondc. 1910[Friedrich König]Friedrich KönigOil on canvasPaintinghttps://sammlungtest.belvedere.at/objects/3542/rdf/internal/media/dispatcher/51941/fullDachstein1904[Emil Orlik]Emil OrlikOil on canvasDas Bild zeigt eine Waldlandschaft des Salzkammerguts mit dem Dachsteingebirge. Eine vergleichbare Ansicht des Dachsteins zeigt zum Beispiel Ferdinand Georg Waldmüllers "Ansicht des Dachsteins mit dem Hallstätter See von der Hütteneckalpe bei Ischl" im Wien Museum. Orlik stellt den dunklen, runden Granitblöcken im Vordergrund die lichten Formen des Gebirgskamms gegenüber. Das runde, verwitterte und bemoste Granitgestein erscheinen als elementarer Kontrast zu den hellen, kristallinen Formen des schneebedeckten Hochgebirges. — [Markus Fellinger, 03/2013]Paintinghttps://sammlungtest.belvedere.at/objects/29110/rdf/internal/media/dispatcher/6068/fullTwilight. Quarry on the Danube1902[Carl Moll]Carl MollOil on canvasDas Motiv zeigt einen Flussarm in den March/Donauauen bei Markthof nahe Theben, woher Molls Vater stammte. Es wurde mit einiger Wahrscheinlichkeit bei der XIII. Secessionsausstellung 1902 unter dem Titel "Landschaft. Abendsonne" gezeigt; bei der Internationalen Frühjahrsausstellung in Budapest als "Esti nap" (Abend Sonne).Paintinghttps://sammlungtest.belvedere.at/objects/3851/rdf/internal/media/dispatcher/5366/fullSolitudec. 1902-1903[Karl Mediz]Karl MedizOil on canvasA tranquil dark lake, rocky shore, trees, and cirrus clouds against a blue summer sky define this large “landscape of the soul” by Karl Mediz. The seemingly naturalistic view depicts a small lake known as the Dead Sea on the island of Lokrum off the coast of Dubrovnik. Close-up we can detect almost impressionistic brushstrokes and dabs of paint evoking a shimmering overall effect. From a greater distance, however, it becomes apparent that the painter composed the image out of clearly delineated planes. These forms create the foundations of the pictorial composition. Paintinghttps://sammlungtest.belvedere.at/objects/6291/rdf/internal/media/dispatcher/49592/fullLandscape with Thunderstorm1901[Rudolf Jettmar]Rudolf JettmarWatercolor, pencil and pastel on paperDrawing arthttps://sammlungtest.belvedere.at/objects/6191/rdf/internal/media/dispatcher/50107/fullHeldenplatz with Lilacc. 1900/1903[Carl Moll]Carl MollOil on canvasIn der Internationalen Frühjahrsausstellung 1903 der ungarischen Gesellschaft für bildende Kunst in Budapest wurde das Gemälde als "Flieder" gezeigt, 1904 wurde es vom Auktionshaus Alfred Wawra´s Witwe 1904 als "Mai am Burgplatze" versteigert.Paintinghttps://sammlungtest.belvedere.at/objects/3850/rdf/internal/media/dispatcher/4856/fullWhite Poplars1900[Adolf Hölzel]Adolf HölzelOil on canvas Two mighty poplars extend to the picture’s edges and define the composition: Adolf Holzel presents a textbook painting for his theory of balanced design—he formalizes landscape. Holzel studied painting in Vienna and Munich from 1872 to 1882. In 1887 he settled in Dachau near Munich and established a flourishing painting school. Students included German Expressionist Emil Nolde and Austrian artist Emilie Mediz-Pelikan. Holzel was a close friend of Viennese painter Carl Moll and a founding member of the Vienna Secession in 1897. He is seen as an important pioneer of abstract art.Paintinghttps://sammlungtest.belvedere.at/objects/6165/rdf/internal/media/dispatcher/117813/fullChestnuts in Blossom1900[Emilie Mediz-Pelikan]Emilie Mediz-PelikanOil on canvasPaintinghttps://sammlungtest.belvedere.at/objects/6292/rdf/internal/media/dispatcher/50081/fullDanish park landscape with villa1898[Walter Leistikow]Walter LeistikowOil on canvasPaintinghttps://sammlungtest.belvedere.at/objects/2765/rdf/internal/media/dispatcher/5363/fullEarly Springc. 1900[Akseli Gallen-Kallela]Akseli Gallen-KallelaOil on canvasAn image of spring as a symbol of change and renewal. Inspired by the latest artistic developments in cities such as Paris, Berlin, and Vienna, the Finnish artist Akseli Gallen-Kallela created pictures of nature and depicted the myths of his homeland. He achieved his international breakthrough at the Paris Exposition Universelle in 1900; the following year he exhibited at the Vienna Secession. Like the founders of the Secession, he, too, was looking for new forms of expression. By means of stylized shapes and bold colors, in his painting Spring he created a symbol of new beginnings. The first warm rays of sunshine melt the snow and spread positive energy. Paintinghttps://sammlungtest.belvedere.at/objects/6144/rdf/internal/media/dispatcher/70913/fullThe Big Field of Sainfoins near Znojmo IV1893[Theodor von Hörmann]Theodor von HörmannOil on canvasPaintinghttps://sammlungtest.belvedere.at/objects/9850/rdf/internal/media/dispatcher/50105/fullDutch Landscape with Farms1877[Rudolf Ribarz]Rudolf RibarzOil on woodPaintinghttps://sammlungtest.belvedere.at/objects/3918/rdf