10/internal/media/dispatcher/144029/fullAt the Source of Lifec. 1918[Karl Borschke]Karl BorschkeOil on canvasPaintinghttps://sammlungtest.belvedere.at/objects/4896/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/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/25294/fullBruno Grimschitz1915[Herbert Boeckl]Herbert BoecklOil on canvasBoeckl lernt Grimschitz 1915 als Kriegskameraden kennen. Grimschitz (1892-1964) wird 1919 Hilfskraft und 1928 Kustos an der Österreichischen Staatsgalerie und 1938 deren Direktor.Paintinghttps://sammlungtest.belvedere.at/objects/4640/rdf/internal/media/dispatcher/12727/fullPortrait of a Woman in a Profile Viewc. 1913[Koloman Moser]Koloman MoserOil on canvasPaintinghttps://sammlungtest.belvedere.at/objects/3251/rdf/internal/media/dispatcher/94300/fullEduard Kosmack1910[Egon Schiele]Egon SchieleOil on canvasThe 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 Kosmack’s bony hands and the arms pressed close to his body emphasize his withdrawn character.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.Paintinghttps://sammlungtest.belvedere.at/objects/3456/rdf/internal/media/dispatcher/6052/fullLife1909-1912, revised 1924[Albin Egger-Lienz]Albin Egger-LienzCasein on canvasPaintinghttps://sammlungtest.belvedere.at/objects/2076/rdf/internal/media/dispatcher/12739/fullCutting Timber1907[Ferdinand Andri]Ferdinand AndriOil on fiber cementPaintinghttps://sammlungtest.belvedere.at/objects/98/rdf/internal/media/dispatcher/128261/fullAdolescentia1903[Elena Luksch-Makowsky]Elena Luksch-MakowskyOil on canvasAdolescence was a widely explored theme in art around 1900. In Adolescentia, a painting steeped in symbolism, Elena Luksch-Makowsky captured this fragile state on the threshold between childish play and awakening sexual interest: Slightly ungainly yet confident nonetheless, a larger-than-life girl is shown standing in a meadow covered with spring flowers. Some distance away, young, pubescent men visibly react to her presence. Born into a family of artists in St. Petersburg, the painter had moved to Vienna with her husband, the sculptor Richard Luksch. Here the artist worked in various media, creating both paintings and designs for sculptures. Paintinghttps://sammlungtest.belvedere.at/objects/4698/rdf/internal/media/dispatcher/4761/fullEmotion1900[Ferdinand Hodler]Ferdinand HodlerOil on canvas Barefoot, wearing a pale blue dress, a young woman stands gracefully in the middle of a landscape. She has raised her hands to her chest like a dancer while averting her face. The Swiss painter Ferdinand Hodler depicted his wife Berthe in this work. In an earlier presentation it was titled „Woman in a Flowery Meadow“. The later title „Emotion“ transformed the figure into the allegorical embodiment of a feeling. Hodler was an important exponent of Jugendstil and was also a member of the Vienna Secession. Many of his works — including this one — were shown at the 19th Secession exhibition in 1904. There it was acquired by the collector Carl Reininghaus, who sold the painting to what is now the Belvedere in 1918.Paintinghttps://sammlungtest.belvedere.at/objects/978/rdf