18/internal/media/dispatcher/142841/fullDiving Bird1939[Erika Giovanna Klien]Erika Giovanna KlienOil on canvas Erika Giovanna Klien was one of the most important exponents of Viennese Kineticism. Her works are characterized by depictions of sequences of movement composed out of geometric forms. On the threshold between non-representational and figurative art, Diving Bird evokes the impression of a smooth wingbeat by capturing each moment of the bird’s swoop in a fanned array of forms and colors. Movement is dissected into its separate stages as if seen in slow motion. Rhythm, speed, and motion remained key themes in Klien’s art after she emigrated to the USA in 1929. It was here that she created her Diving Bird in 1939. Paintinghttps://sammlungtest.belvedere.at/objects/10373/rdf/internal/media/dispatcher/81114/fullAbstract Compositionc. 1925[František Kupka]František KupkaIndia ink, opaque white on paperDrawing arthttps://sammlungtest.belvedere.at/objects/30916/rdf/internal/media/dispatcher/164892/fullAbstract Composition1923/1924[Erika Giovanna Klien]Erika Giovanna KlienOil on canvas on cardboardPaintinghttps://sammlungtest.belvedere.at/objects/4838/rdf/internal/media/dispatcher/85739/fullSalzburg - Mülln1920s[Erika Giovanna Klien]Erika Giovanna KlienAquarell auf TransparentpapierDrawing arthttps://sammlungtest.belvedere.at/objects/64245/rdf/internal/media/dispatcher/7385/fullNight Wanderer1920[Carry Hauser]Carry HauserOil on woodDas Gemälde ist ein Hauptwerk von Carry Hauser und künstlerischer Ausdruck der Aufbruchstimmung nach dem Ersten Weltkrieg. Der "Nächtliche Wanderer" erscheint als zentrale Figur im Stadtraum. Die Dynamik der Gestalt in Bewegung erfasst anhand des kubistischen Stilvokabulars den gesamten Bildraum. Wie von innen strahlend verkörpert sie auch das Bildlicht, indem sie wie die Laterne dahinter die nächtliche Gegend zu erleuchten scheint. Die Figur des Wanderers ist ein Selbstbildnis und auch die beiden Figuren hinter ihr sind autobiografisch zu deuten. Das Gemälde war in der Freien Bewegung in Wien ausgestellt und wurde 1921 im Rahmen der Wanderausstellungen der Künstlervereinigung in ganz Deutschland gezeigt. — [Cornelia Cabuk 2018]Paintinghttps://sammlungtest.belvedere.at/objects/4681/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/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/81032/fullAbstract Composition1914[Alois Bílek]Alois BílekAquarell auf PapierDrawing arthttps://sammlungtest.belvedere.at/objects/30642/rdf/internal/media/dispatcher/81085/fullMenschliches Elend1914[Otakar Kubín]Otakar KubínHolzschnitt auf PapierPrinthttps://sammlungtest.belvedere.at/objects/30908/rdf/internal/media/dispatcher/81086/fullMenschliches Elend1914[Otakar Kubín]Otakar KubínHolzschnitt auf PapierPrinthttps://sammlungtest.belvedere.at/objects/34698/rdf/internal/media/dispatcher/81087/fullMenschliches Elend1914[Otakar Kubín]Otakar KubínHolzschnitt auf PapierPrinthttps://sammlungtest.belvedere.at/objects/34699/rdf/internal/media/dispatcher/81088/fullMenschliches Elend1914[Otakar Kubín]Otakar KubínHolzschnitt auf PapierPrinthttps://sammlungtest.belvedere.at/objects/34700/rdf/internal/media/dispatcher/81089/fullMenschliches Elend1914[Otakar Kubín]Otakar KubínHolzschnitt auf PapierPrinthttps://sammlungtest.belvedere.at/objects/34701/rdf/internal/media/dispatcher/16033/fullCloud Studyundated[Koloman Moser]Koloman MoserOil on cardboardPaintinghttps://sammlungtest.belvedere.at/objects/5269/rdf/internal/media/dispatcher/24281/fullCity on the Blue River II1911[Egon Schiele]Egon SchielePencil, gouache and oil on primed woodPaintinghttps://sammlungtest.belvedere.at/objects/13367/rdf/internal/media/dispatcher/4830/fullThe Reiner Boy (Portrait of Herbert Reiner)1910[Egon Schiele]Egon SchieleOil on canvas In 1910 the renowned orthopedic specialist Max Reiner commissioned a portrait of his five-year-old son Herbert from the young painter Egon Schiele. The artist depicted him in front of a blank surface and wearing a red garment that envelops him like a loose cloak. There are no objects to indicate the child’s age. Rather, his strikingly coarse hands appear much older than the sitter himself and contrast with the boy’s radiant, innocent gaze. Schiele painted The Reiner Boy together with a series of portraits that are all in a square format and share similar compositions. Paintinghttps://sammlungtest.belvedere.at/objects/3521/rdf/internal/media/dispatcher/153751/fullBettina Bauer1907[Max Kurzweil]Max KurzweilOil and black chalk on canvasBettina Bauer, verh. Ehrlich (19.3.1903 Wien – 1985 London). Malerin und Illustratorin von zahlreichen Kinderbüchern. Verheiratet mit dem Bildhauer Georg Ehrlich. Nichte von Adele Bloch-Bauer. — Das Bildnis Bettina Bauer wurde zugleich mit seinem Gegenstück, dem Bildnis von Mira Bauer (Inv. Nr. 6515), im Sommer 1907 in der Villa Bauer in Grado gemalt. Kurzweil unterrichtete die Mutter der Schwestern Bauer in Malerei und war ein häufiger Gast im Hause Bauer.Paintinghttps://sammlungtest.belvedere.at/objects/5197/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