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<rdf:RDF xmlns:schema="https://schema.org/" xmlns:rdf="https://www.w3.org/1999/02/22-rdf-syntax-ns#"><schema:ItemList><schema:numberOfItems>8</schema:numberOfItems><schema:itemListElement><schema:VisualArtwork><schema:image>/internal/media/dispatcher/88512/full</schema:image><schema:name>Cassandra</schema:name><schema:dateCreated>1911</schema:dateCreated><schema:creator>[Alexander Rothaug]</schema:creator><schema:creator>Alexander Rothaug</schema:creator><schema:artMedium>Tempera on wood</schema:artMedium><schema:artForm>Painting</schema:artForm><schema:url>https://sammlungtest.belvedere.at/objects/2839/rdf</schema:url></schema:VisualArtwork></schema:itemListElement><schema:itemListElement><schema:VisualArtwork><schema:image>/internal/media/dispatcher/94300/full</schema:image><schema:name>Eduard Kosmack</schema:name><schema:dateCreated>1910</schema:dateCreated><schema:creator>[Egon Schiele]</schema:creator><schema:creator>Egon Schiele</schema:creator><schema:artMedium>Oil on canvas</schema:artMedium><schema:description>The sitter is like a hypnotist casting his spell over us. Beneath an extremely high forehead, his penetrating gaze hits us full on. Kosmack’s bony hands and the arms pressed close to his body emphasize his withdrawn character. All that interrupts the strict symmetry of the portrait is the sunflower on the right. The figure of the publisher contrasts powerfully with the light background, its flat, planar character still closely resembling the art of the Vienna Secession. Yet Schiele’s expressive style is already visible here: gestures, body language, and facial expressions are now the principal elements of his portraits. The body has been transformed into a vehicle of human emotions.</schema:description><schema:artForm>Painting</schema:artForm><schema:url>https://sammlungtest.belvedere.at/objects/3456/rdf</schema:url></schema:VisualArtwork></schema:itemListElement><schema:itemListElement><schema:VisualArtwork><schema:image>/internal/media/dispatcher/49592/full</schema:image><schema:name>Landscape with Thunderstorm</schema:name><schema:dateCreated>1901</schema:dateCreated><schema:creator>[Rudolf Jettmar]</schema:creator><schema:creator>Rudolf Jettmar</schema:creator><schema:artMedium>Watercolor, pencil and pastel on paper</schema:artMedium><schema:artForm>Drawing art</schema:artForm><schema:url>https://sammlungtest.belvedere.at/objects/6191/rdf</schema:url></schema:VisualArtwork></schema:itemListElement><schema:itemListElement><schema:VisualArtwork><schema:image>/internal/media/dispatcher/118587/full</schema:image><schema:name>Twilight</schema:name><schema:dateCreated>before 1900</schema:dateCreated><schema:creator>[Carl Moll]</schema:creator><schema:creator>Carl Moll</schema:creator><schema:artMedium>Oil on canvas</schema:artMedium><schema:description>Im Jahr 1900 in der VII. Secessionsausstellung als "Dämmerung" gezeigt und im Ver Sacrum im Beitrag "Die Philosophie von Klimt und der Protest der Professoren" abgebildet.</schema:description><schema:artForm>Painting</schema:artForm><schema:url>https://sammlungtest.belvedere.at/objects/4629/rdf</schema:url></schema:VisualArtwork></schema:itemListElement><schema:itemListElement><schema:VisualArtwork><schema:image>/internal/media/dispatcher/4856/full</schema:image><schema:name>White Poplars</schema:name><schema:dateCreated>1900</schema:dateCreated><schema:creator>[Adolf Hölzel]</schema:creator><schema:creator>Adolf Hölzel</schema:creator><schema:artMedium>Oil on canvas</schema:artMedium><schema:description>
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.</schema:description><schema:artForm>Painting</schema:artForm><schema:url>https://sammlungtest.belvedere.at/objects/6165/rdf</schema:url></schema:VisualArtwork></schema:itemListElement><schema:itemListElement><schema:VisualArtwork><schema:image>/internal/media/dispatcher/9235/full</schema:image><schema:name>Ringende Faune</schema:name><schema:dateCreated>1899</schema:dateCreated><schema:creator>[Stefan Schwartz]</schema:creator><schema:creator>Stefan Schwartz</schema:creator><schema:artMedium>Tin</schema:artMedium><schema:artForm>Sculpture</schema:artForm><schema:url>https://sammlungtest.belvedere.at/objects/5206/rdf</schema:url></schema:VisualArtwork></schema:itemListElement><schema:itemListElement><schema:VisualArtwork><schema:image>/internal/media/dispatcher/148283/full</schema:image><schema:name>Josef Lewinsky as Carlos in Clavigo</schema:name><schema:dateCreated>1895</schema:dateCreated><schema:creator>[Gustav Klimt]</schema:creator><schema:creator>Gustav Klimt</schema:creator><schema:artMedium>Oil on canvas</schema:artMedium><schema:description>
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.</schema:description><schema:artForm>Painting</schema:artForm><schema:url>https://sammlungtest.belvedere.at/objects/6234/rdf</schema:url></schema:VisualArtwork></schema:itemListElement><schema:itemListElement><schema:VisualArtwork><schema:image>/internal/media/dispatcher/88515/full</schema:image><schema:name>Lost</schema:name><schema:dateCreated>1891</schema:dateCreated><schema:creator>[Franz von Stuck]</schema:creator><schema:creator>Franz von Stuck</schema:creator><schema:artMedium>Oil on canvas</schema:artMedium><schema:description>Together with Max Klinger, Franz von Stuck was the most important exponent of Jugendstil in Germany. In his early career, he had worked on the magazine Jugend (meaning youth), which gave this new style its name. In 1892 he was a co-founder of the Munich Secession, the first progressive group of artists in German-speaking Europe committed to this new movement in art. Stuck became famous for his original interpretations of classical mythology. The painting Lost depicts a faun, a mythical creature who according to the Greek myths was at home in warm Mediterranean climes, but has here been cast into a barren, snow-covered region.  </schema:description><schema:artForm>Painting</schema:artForm><schema:url>https://sammlungtest.belvedere.at/objects/7739/rdf</schema:url></schema:VisualArtwork></schema:itemListElement></schema:ItemList></rdf:RDF>