43/internal/media/dispatcher/144016/fullBaroque Composition1938[Lilly Steiner]Lilly SteinerOil on canvasPaintinghttps://sammlungtest.belvedere.at/objects/2950/rdf/internal/media/dispatcher/5246/fullPrague Harbour1936[Oskar Kokoschka]Oskar KokoschkaOil on canvasAls Kokoschka das Bild des Prager Flusshafens malt, lebt er bereits zwei Jahre in der Tschechei. Er hatte Wien aufgrund der politischen und wirtschaftlichen Verhältnisse im Jahr 1934 verlassen. Der Tod seiner Mutter und die spürbare Isolation vom internationalen Kunstgeschehen verstärkten seinen Entschluss, Wien zu verlassen. Zahlreiche Zeichnungen und Gemälde mit Prager Stadtansichten entstehen in der Prager Zeit bis zur Flucht nach London im Oktober 1938. Kokoschka malt die Brücke an der Moldau aus erhöhtem Standpunkt, wie er es bereits in seinen Hafenbildern aus Monte Carlo, Marseille (beide 1925), Hamburg und London (beide 1926) praktizierte. Im Gegensatz zu den in diesem Raum gezeigten Bildern ist die Farbpalette heller und reiner in den Farbtönen. Die Pinselführung ist schraffierend und evoziert in ihrer Dynamik eine starke wirbelartige, atmosphärische Bewegung. — [Harald Krejci, 4/2010]Paintinghttps://sammlungtest.belvedere.at/objects/2176/rdf/internal/media/dispatcher/16469/fullView of the Vltava, Praguec. 1936[Friedl Dicker-Brandeis]Friedl Dicker-BrandeisOil on canvas The painter, designer, and interior architect Friedl Dicker-Brandeis studied at the Vienna School of Applied Arts before continuing her education at the Bauhaus in Weimar. In 1936, she had to flee to Prague. This view of the Vltava was created there and is striking due to its muted palette of bluegreen-brown tones and its unique framing. The composition is dominated by a broad strip of river and architectural elements. The atmosphere is cool and distant. Only one person and a small boat can be seen faraway. Relaxed contours and a nuanced application of paint counteract the impression of austerity. Dicker-Brandeis was deported to Theresienstadt in 1942 and murdered in Auschwitz in 1944. Paintinghttps://sammlungtest.belvedere.at/objects/10572/rdf/internal/media/dispatcher/46140/fullAbstract Composition1936–1937[František Foltýn]František FoltýnOil on canvasPaintinghttps://sammlungtest.belvedere.at/objects/30679/rdf/internal/media/dispatcher/4828/fullView of Manhattan (East River)1935–1938[Wilhelm Thöny]Wilhelm ThönyOil on cardboardWilhelm Thöny studied at the academy in Munich and returned in 1923 to Graz, where he co-founded the Graz Secession. In 1931 he moved with his Jewish wife Thea Herrmann-Trautner to Paris and they started traveling extensively. He was particularly fascinated by large cities. After a first visit in 1933 to New York, which featured in his paintings thereafter, the couple planned a longer stay in 1938 but ended up settling there permanently on account of the war. Thöny organized numerous exhibitions in the USA but at the same time remained largely isolated from the New York art scene. Several hundred works, the majority of his œuvre, were destroyed in a warehouse fire in March 1948. Paintinghttps://sammlungtest.belvedere.at/objects/3418/rdf/internal/media/dispatcher/19150/fullStill Life with Jug and Orange1933[Albert Paris Gütersloh]Albert Paris GüterslohOil on canvasPaintinghttps://sammlungtest.belvedere.at/objects/2049/rdf/internal/media/dispatcher/17629/fullStorm1932[Franz Sedlacek]Franz SedlacekOil on plywoodPaintinghttps://sammlungtest.belvedere.at/objects/3412/rdf/internal/media/dispatcher/12687/fullEmperor Franz Joseph in the Vienna Prater1931/1933[Wilhelm Thöny]Wilhelm ThönyOil on cardboard on hardboardPaintinghttps://sammlungtest.belvedere.at/objects/4572/rdf/internal/media/dispatcher/12003/fullGeneral and Diplomatc. 1930/1940[Wilhelm Thöny]Wilhelm ThönyOil on canvasPaintinghttps://sammlungtest.belvedere.at/objects/4573/rdf/internal/media/dispatcher/5305/fullDulsie Bridge, Findhorn River, Scotland1929[Oskar Kokoschka]Oskar KokoschkaOil on canvasIm Sommer 1929 verbringt Kokoschka fast sieben Wochen im schottischen Hochland in der Nähe von Inverness. Mit ihm reist Walter Feilchenfeldt, der Leiter der Berliner Kunst- und Verlagsbuchhandlung Paul Cassirer. Nach intensiver Standortsuche malt Kokoschka das Bild der Dulsie Bridge direkt vor der Natur. In der linken oberen Ecke ist noch das Farmhaus zu sehen, wo ihn die Familie Steward beherbergte. Er schreibt an seine Eltern: "Hier ist ein Landhaus mit entzückenden Leuten, Wildbach wie in unseren Alpen […] wahrscheinlich bleibe ich einige Zeit im Land, muss aber noch einen Platz finden." (Brief vom 15.8.1929) Kokoschka zeigte sich von den Erfahrungen des ländlichen Lebens der Familie, der dortigen Folklore und der lokalen Bräuche beeindruckt. Die Fluss- und Moorlandschaft dieser Region verarbeitet er in zahlreichen Skizzen und insgesamt drei Ölbildern. — [Harald Krejci, 2/2010]Paintinghttps://sammlungtest.belvedere.at/objects/4135/rdf/internal/media/dispatcher/5352/fullGirl with Hat1929[Franz Lerch]Franz LerchOil on canvasPaintinghttps://sammlungtest.belvedere.at/objects/4825/rdf/internal/media/dispatcher/81143/fullPiazza San Marco, Venice1929[Jan Zrzavý]Jan ZrzavýOil on canvasPaintinghttps://sammlungtest.belvedere.at/objects/31104/rdf/internal/media/dispatcher/81047/fullComposition1928[František Foltýn]František FoltýnOil on canvasPaintinghttps://sammlungtest.belvedere.at/objects/30678/rdf/internal/media/dispatcher/81124/fullUnreal Body1928[Josef Šíma]Josef ŠímaOil on woodPaintinghttps://sammlungtest.belvedere.at/objects/30940/rdf/internal/media/dispatcher/134475/fullSelf-Portrait with Comb1926[Marie-Louise von Motesiczky]Marie-Louise von MotesiczkyOil on canvasAfter the early death of her father, Marie-Louise von Motesiczky grew up in the sheltered environment of the Jewish banking family of her mother Henriette von Lieben. She left school at the age of thirteen to take private drawing tuition. From 1927 she studied at the Städelschule in Frankfurt under Max Beckmann, who shaped her style and was to remain a lifelong friend and influence. After Austria’s annexation to Nazi Germany she fled via the Netherlands to London. In exile she was in close contact with other émigré artists, including Oskar Kokoschka and Elias Canetti. As an artist of independent means, she lived for the rest of her life in Britain. Her works were first exhibited in Vienna at the Secession in 1966. Paintinghttps://sammlungtest.belvedere.at/objects/9808/rdf/internal/media/dispatcher/28399/fullMargarete Stonborough-Wittgenstein1925[Anton Hanak]Anton HanakMarbleSculpturehttps://sammlungtest.belvedere.at/objects/1413/rdf/internal/media/dispatcher/19212/fullThe Old Farm Dogc. 1928[Alfred Kubin]Alfred KubinTusche, aquarelliertDrawing arthttps://sammlungtest.belvedere.at/objects/2980/rdf/internal/media/dispatcher/12731/fullLandscape in Tunis1923[Gerhart Frankl]Gerhart FranklOil on canvasNach seiner kurzen Arbeit im Kreise Anton Koligs 1920/1921 entstehen in der Folge auf seinen Studienreisen innerhalb Europas und Nordafrikas zahlreiche Landschaftbilder. Das Bild "Landschaft in Tunis" besticht durch die gänzlich auf Farbwerten basierende Umsetzung der landschaftlichen Tektonik. Mit einem freien dynamischen Pinselstrich setzt Frankl Vorder- Mittel- und Hintergrund mit starkem Kolorit miteinander in Beziehung. — [Harald Krejci, 10/2009]Paintinghttps://sammlungtest.belvedere.at/objects/3522/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/6041/fullStill Life with Fish1922[Herbert Boeckl]Herbert BoecklOil on canvasPaintinghttps://sammlungtest.belvedere.at/objects/8314/rdf/internal/media/dispatcher/15866/fullYearning1921[Anton Kolig]Anton KoligOil on canvasPaintinghttps://sammlungtest.belvedere.at/objects/3250/rdf/internal/media/dispatcher/81152/fullStill Life with Book (Jack London)1921[Emil Filla]Emil FillaOil on canvasPaintinghttps://sammlungtest.belvedere.at/objects/30672/rdf/internal/media/dispatcher/108229/fullKneeling Narcissus1920[Anton Kolig]Anton KoligOil on canvasPaintinghttps://sammlungtest.belvedere.at/objects/3352/rdf/internal/media/dispatcher/17960/fullDenomination1920[Fritz Schwarz-Waldegg]Fritz Schwarz-WaldeggOil on canvasPaintinghttps://sammlungtest.belvedere.at/objects/4159/rdf/internal/media/dispatcher/6032/fullFasnacht in Kitzbühelc. 1920-1925[Alfons Walde]Alfons WaldeOil on cardboardPaintinghttps://sammlungtest.belvedere.at/objects/5293/rdf/internal/media/dispatcher/81357/fullHead II1919[Otto Gutfreund]Otto GutfreundBronzeSculpturehttps://sammlungtest.belvedere.at/objects/30892/rdf/internal/media/dispatcher/7442/fullSelf-Portrait in a Dragoon’s Uniform1918[Wolfgang Schaukal]Wolfgang SchaukalOil on canvas, softboardPaintinghttps://sammlungtest.belvedere.at/objects/1628/rdf/internal/media/dispatcher/94715/fullVictor Ritter von Bauer1918[Egon Schiele]Egon SchieleOil on canvasPaintinghttps://sammlungtest.belvedere.at/objects/1955/rdf/internal/media/dispatcher/94719/fullSquatting Couple (The Family)1918[Egon Schiele]Egon SchieleOil on canvasA man and a woman, both nude, are crouching in a dark room. A child peers out from between the woman’s legs. Positioned protectively behind them both, the man with alert eyes reveals Schiele’s features. His bony body contrasts with the woman’s soft curves, who looks down, lost in thought. Despite their physical proximity, the two bodies appear isolated. Schiele’s own family would never come into existence. His wife Edith died of Spanish flu on October 28, 1918, when she was six months pregnant. Egon Schiele died three days later. Art critic Berta Zuckerkandl thereupon first used the title “The Family” for Squatting Couple.Paintinghttps://sammlungtest.belvedere.at/objects/3071/rdf/internal/media/dispatcher/83174/fullThe Embrace1917[Egon Schiele]Egon SchieleOil on canvas Egon Schiele shows two lovers intimately embracing in an abstract space. Sprawled on a crumpled sheet, they cling to each other, while their lower bodies appear to be drifting apart. Schiele does not focus on a provocative display of nakedness. He dispenses with explicit poses and piercing gazes. Yet the bodies are still vehicles of inner states. Instead of the figures’ identities, the artist places universal themes at the heart of this depiction. Schiele’s image tells of desire and separation anxiety, tenderness and despair. Paintinghttps://sammlungtest.belvedere.at/objects/3232/rdf/internal/media/dispatcher/128260/fullJohanna Staude1917/1918[Johanna Staude, Gustav Klimt, Österreichische Galerie]Gustav KlimtOil on canvas Johanna Staude gazes back at us with shining blue eyes. Gustav Klimt shows the young woman against an orange-red background with a fashionable hairstyle and wearing a dress with a striking pattern. It is named after a Wiener Werkstätte fabric called „Blätter“ (Leaves) and was designed by Martha Albers, a graduate from the Vienna School of Applied Arts. Wrapped around the sitter’s throat is a feather boa that draws our attention to her face. This serene and simple composition was one of Klimt’s last female portraits. The painter was a friend of Johanna Staude and she probably modeled for him on repeated occasions. Address directories document that she was also a language teacher and artist.Paintinghttps://sammlungtest.belvedere.at/objects/4302/rdf/internal/media/dispatcher/153749/fullRomana Kokoschka, the Artist's Mother1917[Oskar Kokoschka]Oskar KokoschkaOil on canvasDas Bildnis der Mutter Romana Kokoschka entstand bei einem Besuch in Dresden, wo sich der Künstler seit Dezember 1916 aufhielt. Als die Mutter abreist ist das Bild noch unvollendet. Kokoschka verlangte zur Fertigstellung eine unretouchierte, überfeinerte Fotografie als Vorlage (Brief Kokoschkas an seine Mutter, 19. Juli 1917). Dunkle Farbakkorde mit grün und blau dominieren die Fläche. Der pastose, breite Pinselstrich ist wellig und lässt einen Kontrast zwischen dem Bildmotiv der in sich ruhenden Mutter und dem dynamischen Bildgewebe entstehen. Kokoschka verzichtet in seinem Porträt der Mutter auf die Technik der kratzenden grafischen Schraffur, wie sie noch im Rentmeister zum Einsatz kam. Bereits ein Jahr zuvor setzte sich der damalige Direktor Fritz Novotny vehement für den Ankauf des Bildes ein: "Wir brauchen unter uns kaum ein Wort darüber zu verlieren, dass es sich um ein sehr bedeutendes Werk des Künstlers handelt und dass es eine wichtige Erwerbung für unser Museum wäre." (Archiv d. Österreichischen Galerie, Akt Zl. 425/1968). Kurzzeitig drohte der Ankauf aus finanziellen Gründen gar zu scheitern, ehe im März 1968 das Ministerium die Ankaufssumme bewilligte. Am 30. Mai 1968 wurde der Ankauf des Bildes der Wiener Presse vorgestellt. — [Harald Krejci, 4/2010]Paintinghttps://sammlungtest.belvedere.at/objects/4589/rdf/internal/media/dispatcher/52844/fullAmalie Zuckerkandl1913/14 (possibly also still in 1917) (unfinished)[Amalie und Otto Zuckerkandl, Amalie Zuckerkandl, Österreichische Galerie, Hermine Müller-Hofmann, Ferdinand Bloch-Bauer, Gustav Klimt]Gustav KlimtOil on canvas The sitter is Amalie Zuckerkandl, wife of the surgeon Otto Zuckerkandl and sister-in-law of the well-known writer Berta Zuckerkandl. This unfinished portrait clearly demonstrates Gustav Klimt’s method of working. As in all of his late portraits, his starting point was the face while the body and clothes are initially only indicated using sketchy strokes. Klimt was given the commission in 1913/14, but progress was interrupted when the Zuckerkandls moved house. In 1917 he resumed work on the portrait, yet it was never finished due to Klimt’s unexpected death early the following year. Amalie Zuckerkandl was left impoverished after the couple divorced. In 1942 she was deported by the Nazis and murdered at Bełžec extermination camp in Poland. Paintinghttps://sammlungtest.belvedere.at/objects/7488/rdf/internal/media/dispatcher/5813/fullThe Klingler Quartet1917[Maximilian Oppenheimer]Maximilian OppenheimerOil and tempera on canvasThe string quartet founded by Karl Klingler in 1905 is still regarded today as one of the most important chamber music ensembles from the first half of the 20th century. Klingler played first violin, his brother Fridolin viola, and the remaining members alternated. The quartet finally disbanded in 1936 rather than cede to the pressure of the National Socialists to replace the Jewish cellist Ernst Silberstein. Max Oppenheimer, himself a passionate violinist, translated the musical interaction into a dynamic fabric of hands, scores, and instruments. After his art had been labeled “degenerate” by the Nazis, Oppenheimer fled from Vienna in 1938 via Switzerland to the USA. Paintinghttps://sammlungtest.belvedere.at/objects/8293/rdf/internal/media/dispatcher/28402/fullThe last human (Ecce Homo)1917–1924[Anton Hanak]Anton HanakBronzeThe outbreak of World War I in 1914 marked the start of an intense exploration of misery and human suffering in the work of Anton Hanak. The sculptor spent seven years working on this monumental figure, aiming to express the psychological states, individual crises, and also the wounds of an entire generation. His final sculpture depicts a naked male figure, his arms outstretched like wings, his upper body leaning slightly forward. The Last Human is a Man of Sorrows, his pose, facial expression, and gestures reminiscent of the crucified Christ. Sculpturehttps://sammlungtest.belvedere.at/objects/8295/rdf/internal/media/dispatcher/160632/fullBride1917/1918[Gustav Klimt]Gustav KlimtOil on canvas When Gustav Klimt died unexpectedly in February 1918, this colorful work was found unfinished on the easel in his studio. At the center of the painting is a young woman in blue, tilting her head dreamily toward the man on the left in the picture. He is surrounded by sensual, intertwined bodies, but he looks only at the woman by his side. There are still many puzzles surrounding this painting. Is Klimt exploring male desire? Or is the painting a symbol of a woman’s journey from child to adult and even to motherhood? Klimt depicted the relationship between man and woman one last time in this large allegorical work. The Bride was only added as the title after the artist’s death. Paintinghttps://sammlungtest.belvedere.at/objects/9020/rdf/internal/media/dispatcher/160537/fullAdam and Eve1916 - 1918[Gustav Klimt, Galerie Gustav Nebehay, Österreichische Galerie, Sonja Knips]Gustav KlimtOil on canvas (unfinished) Klimt rarely engaged with biblical subjects during his career. One of his last works, unfinished at his death, shows the first humans, Adam and Eve. He was not interested in the more traditional depiction of the Fall, however, instead focusing on the figure of Eve as the quintessential female. Adam has closed his eyes, intoxicated with love, as he tilts his head and nestles tenderly against Eve. But Eve is looking straight at us. The anemones on the ground are emblems of fertility; the leopard skin, meanwhile, was a symbol in ancient Greece of unbridled desire. In Klimt’s interpretation, then, it is Eve—and not the snake—who is the temptress.Paintinghttps://sammlungtest.belvedere.at/objects/3196/rdf/internal/media/dispatcher/7447/fullOtto von Aichelburg-Zossenegg1916[Anton Kolig]Anton KoligOil on canvasPaintinghttps://sammlungtest.belvedere.at/objects/3552/rdf/internal/media/dispatcher/5384/fullVerwundeter1916[Jan Štursa]Jan ŠtursaBronzeSculpturehttps://sammlungtest.belvedere.at/objects/7811/rdf/internal/media/dispatcher/94289/fullRussian Prisoner of War1915[Egon Schiele]Egon SchieleGouache and pencil on paperDrawing arthttps://sammlungtest.belvedere.at/objects/1003/rdf/internal/media/dispatcher/12737/fullSelf-Portraitc. 1916[Koloman Moser]Koloman MoserOil on canvas, mounted on cardboardHis great talent was his versatility: painting and graphics, applied art, fashion, interior and set design—Koloman Moser was at home in all these disciplines. As a founder member of the Secession and the Wiener Werkstätte, he both paved the way and shaped the path of Viennese modernism. Moser portrays himself in a strictly frontal pose, his shirt open, his chest naked, his eyes wide. He has a visionary quality, almost Christlike with light encircling his head like a halo. The painting’s cool colors and the strictly symmetrical composition are also striking and were inspired by the work of his Swiss colleague Ferdinand Hodler.  Paintinghttps://sammlungtest.belvedere.at/objects/4320/rdf/internal/media/dispatcher/28668/fullKarpathenwacht1914-1915[Alois Hans Schramm]Alois Hans SchrammOil on canvasPaintinghttps://sammlungtest.belvedere.at/objects/1123/rdf/internal/media/dispatcher/81032/fullAbstract Composition1914[Alois Bílek]Alois BílekAquarell auf PapierDrawing arthttps://sammlungtest.belvedere.at/objects/30642/rdf