19/internal/media/dispatcher/25297/fullErzberg II1947[Herbert Boeckl]Herbert BoecklOil on canvasPaintinghttps://sammlungtest.belvedere.at/objects/9185/rdf/internal/media/dispatcher/70896/fullSchloss Kammer on Lake Attersee III1911/1912[Gustav Klimt, Ferdinand Bloch-Bauer, Österreichische Galerie, Erich Führer, Ingeborg Anna Ucicky, Gustav Ucicky, Österreichische Galerie, 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/115111/fullFlowering Poppies1907[Gustav Klimt, Galerie Miethke, Wien, Viktor Zuckerkandl, Paula Zuckerkandl, Victor & Paula Zuckerkandl, Hans Gnad, Fritz und Gertrude Zuckerkandl, Österreichische Galerie, Rudolf Leopold, Amalie Zuckerkandl, Fritz Zuckerkandl]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/19481/fullCapri1905[Alfred Zoff]Alfred ZoffOil on canvasPaintinghttps://sammlungtest.belvedere.at/objects/3844/rdf/internal/media/dispatcher/15409/fullAt the Donaulände1903[Franz Jaschke]Franz JaschkeOil on canvasPaintinghttps://sammlungtest.belvedere.at/objects/6455/rdf/internal/media/dispatcher/29542/fullDonaulände in Summer1903[Franz Jaschke]Franz JaschkeOil on canvasPaintinghttps://sammlungtest.belvedere.at/objects/17103/rdf/internal/media/dispatcher/70888/fullPath in Monet's Garden in Giverny1902[Claude Monet]Claude MonetOil on canvasIt is late summer. The leaves and flowers seem positively to shimmer, the painting a tapestry of juxtaposed dabs of paint. Solid shapes are nowhere to be seen—everything is color. The herbaceous borders of nasturtiums, asters, and dahlias and the sandy path leading to a house all shine brightly. Dappled shadows dissolve into an array of dark hues. In spring 1883 Monet moved to a house in Giverny, northwest of Paris. He immediately started designing the garden; a water-lily pond was a later addition. In 1872 the little-known painter had unwittingly given Impressionism its name when he exhibited Impression, soleil levant (Impression, Sunrise). His water-lily paintings and images of this avenue in his garden represent the climax and culmination of this style.Paintinghttps://sammlungtest.belvedere.at/objects/2683/rdf/internal/media/dispatcher/70866/fullTaormina in the Sunshine1897[Johann Victor Krämer]Johann Victor KrämerOil on canvasPaintinghttps://sammlungtest.belvedere.at/objects/6148/rdf/internal/media/dispatcher/70912/fullFlowering Poppiesc. 1895/1900[Olga Wisinger-Florian]Olga Wisinger-FlorianOil on millboardDer Kreis um Emil Jakob Schindler (Marie Egner, Carl Moll, Olga Wisinger-Florian, Eugen Jettel, Rudolf Ribarz, Robert Russ u. a.) hat bevorzugt unscheinbare Motive in nahsichtiger Weise für ihre Bilder ausgewählt (die daher boshaft auch als "Kraut- und Rübenstücke" bezeichnet wurden). Eines der schönsten Beispiele dafür ist dieses Bild von Olga Wisinger-Florian. Die Malerin scheint sich mitten in das Mohnfeld gesetzt zu heben, der Horizont liegt sehr hoch, so dass die weite Ebene schier unendlich erscheint. Dies ist eine vollkommen neue Perspektive – die die eigentliche Landschaft in den Hintergrund verdrängt und das unbedeutende Detail aus dem Vordergrund plötzlich in den Mittelpunkt der Betrachtung verlagert. Dadurch ergibt sich auch eine Art Durchdringung von Stillleben und Landschaft – wie es Marie Egner später bewusst getan hat. Es ist außerdem die konsequente Weiterführung der Ausschnitthaftigkeit der "paysages intimes" der 1870er Jahre. — Wisinger-Florian war zwar eine Schülerin Schindlers, aber sowohl künstlerisch als auch konstitutionell eine so starke Persönlichkeit, dass aus dem Lehrer-Schülerin-Verhältnis eine Konkurrenzsituation erwuchs. Bilder in toniger Stimmungsmalerei waren durchaus von Schindler beeinflusst, aber sie wandte sich verstärkt der Buntfarbigkeit mit leuchtenden, kräftigen Farben zu. — [Dietrun Otten, 2002]Paintinghttps://sammlungtest.belvedere.at/objects/1178/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/70898/fullCoast at Sylt1892[Emil Jakob Schindler]Emil Jakob SchindlerOil on canvas on woodPaintinghttps://sammlungtest.belvedere.at/objects/3551/rdf/internal/media/dispatcher/4457/fullView of Paris1890[Theodor von Hörmann]Theodor von HörmannOil on canvasPaintinghttps://sammlungtest.belvedere.at/objects/2593/rdf/internal/media/dispatcher/4554/fullNighttime Paris with the Eiffel Tower1889[Theodor von Hörmann]Theodor von HörmannOil on canvasDas Bild wurde 1891 von der Jury des Künstlerhauses zurückgewiesen. (Vgl. Hussl-Hörmann, 2013, S. 232)Paintinghttps://sammlungtest.belvedere.at/objects/4503/rdf/internal/media/dispatcher/4555/fullHouses on Jersey1888[Theodor von Hörmann]Theodor von HörmannOil on woodPaintinghttps://sammlungtest.belvedere.at/objects/4506/rdf/internal/media/dispatcher/4432/fullFrom the Tuileries – Gray Day1883[Tina Blau]Tina BlauOil on woodTina Blau had achieved success. Her art was acclaimed not only in Vienna but even in Paris. Blau had made the most of her time in the French capital. She visited the Tuileries Garden and painted the park’s central avenue between the Louvre and the Place de la Concorde in various weather conditions. Here it is a gray and overcast day. Only a few darkly dressed people are out and about. The wooden panel is left partly visible, the paint has been applied in thick impasto using short brushstrokes. Just a few strokes suffice to render the wood planters, a cape, or the statues on their plinths. The painting belongs to a group of works that led to Blau’s recognition in Munich when she exhibited there in 1890.Paintinghttps://sammlungtest.belvedere.at/objects/585/rdf/internal/media/dispatcher/70895/fullIn the Tuileriesc. 1888[Theodor von Hörmann]Theodor von HörmannOil on canvasPaintinghttps://sammlungtest.belvedere.at/objects/2835/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/70908/fullShips in the Harbor1882[Rudolf Ribarz]Rudolf RibarzOil on woodPaintinghttps://sammlungtest.belvedere.at/objects/4067/rdf/internal/media/dispatcher/70867/fullThe Chef (Le Père Paul)1882[Claude Monet]Claude MonetOil on canvasThe light! The colors! Impressionist paintings seem to radiate light from within. Nuances of pink, blue, and green are juxtaposed. Close up, all one initially notices are dabs of paint. Only from the right distance do the chef’s hat and jacket, illuminated passages and shadows take shape. Like all Impressionists, Monet is not interested in neatly depicting real objects but rather in the fleeting perception of optical phenomena. The sitter is Paul Antoine Graff. He was a much-lauded chef and the owner of a small hotel in Pourville in northern France, where Monet stayed for several weeks in 1882.Paintinghttps://sammlungtest.belvedere.at/objects/6289/rdf