14/internal/media/dispatcher/128260/fullJohanna Staude1917/1918[Gustav Klimt, Johanna Staude]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/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/97122/fullAvenue to Schloss Kammer1912[Gustav Klimt]Gustav KlimtOil on canvas “I am longing to get away more than ever,” wrote Gustav Klimt at the beginning of August 1901 — away from the hot city for a sojourn by the lakes and mountains of Austria’s Salzkammergut. From 1900 to 1916 the artist spent several weeks each summer at the Attersee lake. This beautiful region inspired him and he painted intensively. Klimt depicted Schloss Kammer in a total of five paintings. At the end of an avenue of gnarled trees, the entrance and part of the yellow façade can be seen in the pictorial depths. Vibrant dabs of paint and bold contours reflect Klimt’s engagement with the international avant-garde, for example the work of Vincent van Gogh or Paul Cézanne that he had the chance to study at exhibitions in Vienna.Paintinghttps://sammlungtest.belvedere.at/objects/8691/rdf/internal/media/dispatcher/115111/fullFlowering Poppies1907[Gustav Klimt]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/36554/fullGirlfriends (Water Serpents I)1904 (minor amendments in 1907)[Gustav Klimt, Gustav Klimt, Unbekannter Besitz]Gustav Klimt Watercolour, gouache, pencil, gold, silver, platinum and brass on parchment Klimt’s aquatic beings, described by the artist as “water serpents” or “water nymphs,” seem bewitchingly detached from the real world. In dreamy, flowing movements they float above the ocean floor in the midst of golden seaweed. A glimmering fish stares out at us with a fixed gaze from the lower right of the picture. Influenced by the Symbolist art movement, the artist used these aquatic creatures to symbolize a mystical realm. Klimt created this work on parchment at the height of his Golden Period.Paintinghttps://sammlungtest.belvedere.at/objects/3828/rdf/internal/media/dispatcher/83180/fullJudith1901[Gustav Klimt, Berthe Hodler, Anton Loew, Sophie Loew-Unger]Gustav KlimtOil and gold leaf on canvas The biblical story of the brave Judith has often been depicted in art. Judith, a chaste widow, gets the enemy commander Holofernes drunk with divine help, and then beheads him to free her people. Gustav Klimt interprets the Old Testament heroine as an erotic femme fatale. She gazes seductively at the viewer through half-closed eyes, her lips slightly parted. Only on closer inspection do we see the decapitated head of Holofernes. Judith holds it almost tenderly, as if to push it out of the picture. In Klimt’s painting there is no room for the male aggressor. He has transformed the biblical story of resistance in a political conflict into a battle of the sexes, and Judith’s triumph into a dangerously tantalizing icon of femininity.Paintinghttps://sammlungtest.belvedere.at/objects/3492/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/internal/media/dispatcher/50559/fullWoman Bathingc. 1899[George Minne]George MinneMarbleEs handelt sich wahrscheinlich um die Skulptur, die im Lesezimmer der 14. Ausstellung der Wiener Secession ausgestellt war und aus der Ausstellung von einem Wiener Sammler erworben wurde. Die Wiener Sonn- und Montags-Zeitung (5.5.1902, S. 6) schreibt, dass beide im Lesezimmer ausgestellten Arbeiten von Minne ("Jüngling" und "Badendes Mädchen") in die Hände von hiesigen Kunstliebhabern übergingen, und zwar in Marmor. Da der Katalog der Ausstellung diese Nummern als Gipsplastiken anführt, ist davon auszugehen, dass Minne nicht die ausgestellten Gipsskulpturen verkaufte, sondern auf Bestellung der Käufer die Skulpturen in Marmor ausführte, ein üblicher Vorgang der damaligen Ausstellungspraxis. Der Käufer war wahrscheinlich Fritz Waerndorfer, in dessen Sammlung diese Skulptur, gemeinsam mit einer große Zahl weiterer Arbeiten des Künstlers, dokumentiert ist. Später gelangte die Figur in die Sammlung Lederer.Sculpturehttps://sammlungtest.belvedere.at/objects/2985/rdf/internal/media/dispatcher/92738/fullJune Roses1898[Margaret Macdonald Mackintosh]Margaret Macdonald MackintoshPencil and water-based color on paper Zarte Rosenranken umspielen die Gestalt einer jungen Frau. Mit geschlossenen Augen wendet sie sich vier nackten Kleinkindern zu, die sie neugierig mustern. Das Aquarell in zarten Grüntönen von Margaret Macdonald Mackintosh ist das erste Werk einer ausländischen Künstlerin, das 1903, im Gründungsjahr der Modernen Galerie, für die Sammlung angekauft wurde. Mit ihrer innovativen Bildsprache, die auf Tiefenraum zur Gänze verzichtet, beeinflusste die wichtige Vertreterin des schottischen Jugendstils Gustav Klimt und die Entwicklung der Wiener Flächen- und Linienkunst maßgeblich.Drawing arthttps://sammlungtest.belvedere.at/objects/6306/rdf/internal/media/dispatcher/118782/fullSonja Knips1897/1898[Gustav Klimt, Sonja Knips]Gustav KlimtOil on canvas Calm and confident, Sonja Knips gazes back at us. A baroness by birth, she was one of Gustav Klimt’s most prominent patrons. The artist subtly composed her portrait with great sensitivity, alternating between hazy evocation and precision: Sonja Knips’s face is rendered naturalistically, while her sumptuous tulle gown dissolves in a cascade of soft brushstrokes. Leaning slightly forward, she sits on the edge of an armchair ready to rise at any moment. A red sketchbook in her right hand adds an accent of bright color. This is the first portrait that Klimt painted in a square format. It also marks the start of his rise to become one of the most sought-after portraitists of Viennese society.Paintinghttps://sammlungtest.belvedere.at/objects/3197/rdf/internal/media/dispatcher/4863/fullCalm Water1894[Fernand Khnopff]Fernand KhnopffOil on canvas The pond is utterly still. Isolated trees line the green bank, yet the artist directs our gaze to the water and not to the treetops. We can only identify the surroundings from the reflection. Fernand Khnopff sought to visualize a world unexplored by humanity. As an exponent of Symbolism, the Belgian artist’s depictions of ponds and glades were intended to make a deeper reality visible. The water’s surface becomes a metaphor of the unfathomable human psyche: it reflects the image like a mirror, but it is impossible to see into the pond’s depths. Khnopff’s works were shown at the first exhibitions of the Vienna Secession. Their subliminal messages fascinated the group of artists around Gustav Klimt.Paintinghttps://sammlungtest.belvedere.at/objects/7541/rdf/internal/media/dispatcher/107384/fullPortrait of a Womanc. 1893/1894[Gustav Klimt]Gustav KlimtOil on canvas The young woman wearing a black evening gown was a close friend of the fashion designer Emilie Flöge, Gustav Klimt’s lifelong companion. For her portrait Klimt selected a vertical format that emphasizes the figure’s slim silhouette. Her porcelain complexion and her necklace are rendered with the same delicate precision as the tapestry on the wall. The artist worked in this highly realistic style in the years around 1890 in a way that reveals the influence of photography. He would also use photography to help compose his later paintings. It is Klimt’s first society portrait of a woman. After Hans Makart’s death, Klimt became the most sought-after portraitist of the Viennese upper classes.Paintinghttps://sammlungtest.belvedere.at/objects/21938/rdf/internal/media/dispatcher/101397/fullThe Plain of Auvers1890[Vincent van Gogh]Vincent van GoghOil on canvasAs if after a downpour, a narrow strip of greeny-blue sky hangs over the plain at Auvers. The landscape seems to be absorbing this color. Although red and orange flowers still blaze in the foreground, toward the horizon the shades gradually merge into a uniform array of hues. A sense of depth and the high horizon evoke the wide expanse of the scene while the rolling countryside is captured in turbulent brushwork. Van Gogh spent the last two months of his life here at Auvers-sur-Oise. After his brother Theo sent him some long-awaited canvases and paints, Vincent was swept into a creative frenzy, making dozens of pictures such as this work. The painter died soon after its completion.Paintinghttps://sammlungtest.belvedere.at/objects/9/rdf/internal/media/dispatcher/87118/fullRaphael, Rembrandt, Rubens1881[Hans Makart]Hans MakartOil on canvas[Vgl. Frodl, Makart, 2013, Kat. Nr. 433/2]Paintinghttps://sammlungtest.belvedere.at/objects/9652/rdf