63/internal/media/dispatcher/134356/fullModel of the Secession during the Beethoven exhibition 19022011[Gerhard Stocker]Gerhard StockerBasswoodArchitecturehttps://sammlungtest.belvedere.at/objects/21980/rdf/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/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/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[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/52844/fullAmalie Zuckerkandl1913/14 (possibly also still in 1917) (unfinished)[Gustav Klimt, Amalie und Otto Zuckerkandl, Amalie Zuckerkandl, Hermine Müller-Hofmann, Ferdinand Bloch-Bauer]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/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/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/62944/fullYouth1913/1914[Franz Barwig der Ältere]Franz Barwig der ÄltereOak woodSculpturehttps://sammlungtest.belvedere.at/objects/765/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/12700/fullView from Torbole towards Lake Garda (West Shore)1912[Koloman Moser]Koloman MoserOil on canvasDie Beschäftigung mit der Landschaft lässt sich in Koloman Mosers Malerei bis ins Jahr 1907 zurückverfolgen, als erste Motive in realistischer Naturwiedergabe entstanden. Diese weichen im Laufe der Jahre einer Vereinfachung der Form in Kombination mit einer subtilen Farbskala in kühlen Pastelltönen. Im Juni und Juli 1912 hält sich Moser mit seiner Familie in Torbole am Gardasee auf. Neben Pastellzeichnungen der Familie mit privatem Charakter hat sich dieses Gemälde erhalten, das den Blick vom Felsen von Tignale bis Limone zeigt. Die horizontale Bildachse lenkt den Blick des Betrachters auf die Felsformation im Hintergrund, dessen expressive Farbkonstellation auf die malerische Wiedergabe in den Spiegelungen des Wassers reagiert. Neben der Verflachung des Sujets und der subtilen Farbskala erzeugt Moser Spannung durch die Sichtbarmachung des Horizonts am linken Bildrand neben dem Felsen, wodurch der Eindruck einer Momentaufnahme entsteht. Anders als bei vielen anderen Gemälden entscheidet sich Moser anstelle des quadratischen Formats für ein Breitformat, das den Charakter eines Panoramabilds annimmt und die Auseinandersetzung von Moser mit dem Medium Fotografie in malerischer Weise verdeutlicht. — [Stefan Üner, 2016]Paintinghttps://sammlungtest.belvedere.at/objects/7953/rdf/internal/media/dispatcher/88512/fullCassandra1911[Alexander Rothaug]Alexander RothaugTempera on woodPaintinghttps://sammlungtest.belvedere.at/objects/2839/rdf/internal/media/dispatcher/12786/fullMadonna1910[Wlastimil Hofman]Wlastimil HofmanOil on canvasPaintinghttps://sammlungtest.belvedere.at/objects/3545/rdf/internal/media/dispatcher/12695/fullRudolf Steindl, the Artist's Brother-in-Lawc. 1911[Koloman Moser]Koloman MoserOil on canvasDas Porträt zeigt Rudolf Steindl (13.4.1871 Wien–14.9.1953 Wien), der mit Koloman Mosers jüngerer Schwester Leopoldine (6.11.1877 Wien – 9.7.1957 Wien) verheiratet war. Ab 1888 war Steindl Mitarbeiter in der k. k. Hof- und Staatsdruckerei, wo er bis zu seiner Pensionierung in der Zwischenkriegszeit zuletzt als "Oberkontrollor der Staatsdruckerei" beschäftigt war. Moser zeigt seinen Schwager in strenger Frontalansicht in Bildmitte sitzend mit einem Buch in der Hand. Das Bild wird bestimmt vom gedämpften Farbauftrag im pastosen und breiten Pinselduktus. Die Modellierung des Körpers erscheint in der Fläche arrangiert, wobei auch die Kontur die flächige Stilisierung generiert. Der Stuhl mit hoher Rückenlehne im Hintergrund, der an Mosers Armlehnstuhl von 1902 der Firma Prag-Rudniker erinnert, ist als Verweis auf die geometrischen Tendenzen der Wiener Moderne zu sehen. Am linken Bildrand betont Moser durch den vertikalen schwarzen Streifen effektvoll den hierarchischen Charakter des Porträts, wobei er den Dargestellten als Intellektuellen charakterisiert. Gleichzeitig bricht er dadurch die strenge Symmetrische der Bildordnung und erzeugt Spannung. Vor allem die Betonung der großen Hände verweist auf Mosers Auseinandersetzung mit den expressionistischen Porträts von Egon Schiele (1890–1918) wie dem 1910 gemalten Bildnis des Verlegers Eduard Kosmack. In seiner überaus modernen Interpretation einer traditionellen Form gelingt es Moser dem Porträtierten eine individuelle und psychologische Komponente zu verleihen. — [Stefan Üner, 2016]Paintinghttps://sammlungtest.belvedere.at/objects/4977/rdf/internal/media/dispatcher/62960/fullEve1910[Franz Barwig der Ältere]Franz Barwig der ÄltereCast brass and bronzeSculpturehttps://sammlungtest.belvedere.at/objects/9014/rdf/internal/media/dispatcher/29559/fullPollard Willows in Weyer1909[Franz Jaschke]Franz JaschkeOil on canvasPaintinghttps://sammlungtest.belvedere.at/objects/23649/rdf/internal/media/dispatcher/21133/fullMichel1908[Josef Engelhart]Josef EngelhartOil on cardboardPaintinghttps://sammlungtest.belvedere.at/objects/39/rdf/internal/media/dispatcher/50753/fullMedea1908[Hugo Kühnelt]Hugo KühneltMarbleDie Skulptur war bereits 1908 auf der 30. Ausstellung der Wiener Secession ausgestellt.Sculpturehttps://sammlungtest.belvedere.at/objects/295/rdf/internal/media/dispatcher/12723/fullCountry House on the Waterfrontc. 1908[Koloman Moser]Koloman MoserOil on canvasPaintinghttps://sammlungtest.belvedere.at/objects/3173/rdf/internal/media/dispatcher/24350/fullSexton's House in Melk1908[Ernst Stöhr]Ernst StöhrOil on canvasPaintinghttps://sammlungtest.belvedere.at/objects/3538/rdf/internal/media/dispatcher/15617/fullElsa Galafrés1908[Otto Friedrich]Otto FriedrichOil on canvasPaintinghttps://sammlungtest.belvedere.at/objects/6664/rdf/internal/media/dispatcher/52621/fullThe Dance1908[Franz Metzner]Franz MetznerMarbleSculpturehttps://sammlungtest.belvedere.at/objects/6680/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/19148/fullSummer1907[Rudolf Junk]Rudolf JunkOil on canvasPaintinghttps://sammlungtest.belvedere.at/objects/6573/rdf/internal/media/dispatcher/12856/fullMoonlit Night1906[Ernst Stöhr]Ernst StöhrOil on canvasPaintinghttps://sammlungtest.belvedere.at/objects/6704/rdf/internal/media/dispatcher/49593/fullStill Pondc. 1910[Friedrich König]Friedrich KönigOil on canvasPaintinghttps://sammlungtest.belvedere.at/objects/3542/rdf/internal/media/dispatcher/17958/fullSpring1905[Constantin Damianos]Constantin DamianosOil on canvasPaintinghttps://sammlungtest.belvedere.at/objects/3927/rdf/internal/media/dispatcher/11347/fullWell-Wisher1905[Franz Jaschke]Franz JaschkeOil on canvasPaintinghttps://sammlungtest.belvedere.at/objects/4976/rdf/internal/media/dispatcher/9036/fullGabrielle (Ella) Galliac. 1910[Otto Friedrich]Otto FriedrichOil on canvasGabrielle (Ella) Gallia war nicht verwandt mit der von Klimt porträtierten Hermine Gallia. Sie war die Tochter von Eduard Danzer, dem Gründer von "Danzer's Orpheum" und seit etwa 1893/94 mit Hugo Gallia, einem Beamten (Oberrevidenten) der Staatlichen Eisenbahngesellschaft und Besitzer mehrerer Zinshäuser in Wien Alsergrund verheiratet. Ein von Wolfgang G. Fischer publiziertes Foto aus der gleichen Zeit zeigt sie in einem Reformkleid der Schwestern Flöge.Paintinghttps://sammlungtest.belvedere.at/objects/10565/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/12514/fullOrange Grove on the French Riviera1903[Broncia Koller-Pinell]Broncia Koller-PinellOil on canvasPaintinghttps://sammlungtest.belvedere.at/objects/4739/rdf/internal/media/dispatcher/15409/fullAt the Donaulände1903[Franz Jaschke]Franz JaschkeOil on canvasPaintinghttps://sammlungtest.belvedere.at/objects/6455/rdf/internal/media/dispatcher/29542/fullDonaulände in Summer1903[Franz Jaschke]Franz JaschkeOil on canvasPaintinghttps://sammlungtest.belvedere.at/objects/17103/rdf/internal/media/dispatcher/70899/fullBirch Forest in Evening Lightc. 1902[Carl Moll]Carl MollOil on canvasDas Bild wurde höchstwahrscheinlich in der XIII. Secessionsausstellung als "Abend" gezeigt.Paintinghttps://sammlungtest.belvedere.at/objects/3798/rdf/internal/media/dispatcher/3803/fullButter Farm Woman from Salzburg1902[Ferdinand Andri]Ferdinand AndriOil on cardboardPaintinghttps://sammlungtest.belvedere.at/objects/4622/rdf/internal/media/dispatcher/23678/fullThe Dwarf and the Ladyca 1902/1903[Sigmund Walter Hampel]Sigmund Walter HampelOil on canvasPaintinghttps://sammlungtest.belvedere.at/objects/6295/rdf/internal/media/dispatcher/134816/fullPortrait of Therese Bloch-Bauerc. 1907[Max Kurzweil]Max KurzweilOil on canvasDas Bild hing in der Kunstschau 1908 zwischen den beiden Mädchenporträts von Thereses Nichten, den Schwestern Mira und Bettina Bauer (Inv. Nr. 6515 und 6516). Das Bild war im Katalog nicht mit dem vollen Namen der Dargstellten angegeben, sondern nur mit dem Kürzel "Frau Dr. Th. B.". Therese Bloch-Bauer hat das Bild 1938 bei ihrer Emigration nach England offenbar ohne Probleme mitnehmen können. In den Ausfuhrakten waren die Kunstwerke nicht einzeln angegeben, weshalb bisher jeder Hinweis auf die Existenz des Bildes fehlte. — [Fellinger, 2/2016]Paintinghttps://sammlungtest.belvedere.at/objects/13539/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/12694/fullHilda and Franz von Matsch, the Artist's Children1901[Franz von Matsch]Franz von MatschOil on canvasPaintinghttps://sammlungtest.belvedere.at/objects/4955/rdf/internal/media/dispatcher/117818/fullVer Sacrum1901[Elena Luksch-Makowsky]Elena Luksch-MakowskyOil on canvasElena Luksch-Makowsky painted this self-portrait soon after the birth of her son Peter. She solemnly presents her child, fading into the background shadows herself. It is the new generation that counts, as emphasized by the title: Ver Sacrum (sacred spring). This was the motto of the Secession and harked back to an ancient Roman tradition. In the “sacred spring” newborns were dedicated to the gods and would be sent to settle new land upon reaching adulthood. In this work, Luksch-Makowsky thus reflects the dawn of a new art as well as a new phase in her own life as a mother. Ver Sacrum was displayed in 1902 at the Secession’s 13th exhibition, which featured a number of works by Luksch-Makowsky. Paintinghttps://sammlungtest.belvedere.at/objects/7233/rdf/internal/media/dispatcher/4119/fullOld Man on his Death-Bed1900[Gustav Klimt]Gustav KlimtOil on millboard Depictions of the deceased appear frequently in Klimt’s oeuvre, but are usually not shown to the public due to the highly personal nature of the subject matter. In most cases, the people can be clearly identified. Not so in the case of this portrait, where the identity of the old man has yet to be fully determined and continues to puzzle scholars. Klimt often painted such portraits immediately after death, sometimes on the very day of the subject’s passing. This painting is dated 1900, which may indicate the year of the man’s death. The work was probably cropped, as only a fragment of the original composition is visible today.Paintinghttps://sammlungtest.belvedere.at/objects/9957/rdf/internal/media/dispatcher/50572/fullNymph and Satyrc. 1900[Georg Klimt]Georg KlimtCopper, RepousséSculpturehttps://sammlungtest.belvedere.at/objects/33380/rdf/internal/media/dispatcher/70788/fullStream in Winterbefore 1913[Sebastian Isepp]Sebastian IseppOil on canvasPaintinghttps://sammlungtest.belvedere.at/objects/578/rdf/internal/media/dispatcher/3805/fullElisabeth Steindlc. 1903[Ferdinand Andri]Ferdinand AndriOil on canvasPaintinghttps://sammlungtest.belvedere.at/objects/4994/rdf/internal/media/dispatcher/50749/fullJudith with the Head of Holofernes1898[Hermann Hahn]Hermann HahnMarbleSculpturehttps://sammlungtest.belvedere.at/objects/6046/rdf/internal/media/dispatcher/4073/fullAfter the Rain1898[Gustav Klimt]Gustav KlimtOil on canvasGustav Klimt spent his first summer vacation in the Salzkammergut region in August 1898. He resided for several weeks at Sankt Agatha near Steeg on Hallstatt Lake in the company of the Flöge family. During his stay, he created four landscape paintings, including After the Rain. Even in these early landscapes, Klimt’s soft brushwork, conveying a fleeting impression, attests that he was particularly influenced by the style of the French Impressionists. The artist also drew inspiration from Japanese woodblock prints. After the Rain was the first work by Klimt to enter the collection in 1900, three years before the opening of the Moderne Galerie at the Lower Belvedere.Paintinghttps://sammlungtest.belvedere.at/objects/6087/rdf/internal/media/dispatcher/19133/fullThe Brothers Theodor and Willhelm List1898[Wilhelm List]Wilhelm ListOil on canvasPaintinghttps://sammlungtest.belvedere.at/objects/9240/rdf/internal/media/dispatcher/4046/fullLady at the Fireplace1897/1898[Gustav Klimt, Editha und Hermann Bauch, Friedrich Stadler-Wolffersgrün, Unbekannter Besitz, Friedrich Viktor Stadler-Wolffersgrün]Gustav KlimtOil on canvas The fashionable young woman sitting by the fireplace is depicted by Gustav Klimt as lost in thought. The dim lighting blurs her silhouette, while the warm glow of the fire is only vaguely discernible. The sitter exudes cosmopolitan sophistication, and her dreamy demeanor is consistent with the melancholy portrayal of women prevalent at the time in literature. The circumstances surrounding the painting’s creation remain unknown. However, anonymous portraits of women were a common theme in Klimt’s work. In this work, rather than characterizing a specific individual, the artist sought to capture a particular perspective on life.Paintinghttps://sammlungtest.belvedere.at/objects/4185/rdf/internal/media/dispatcher/70866/fullTaormina in the Sunshine1897[Johann Victor Krämer]Johann Victor KrämerOil on canvasPaintinghttps://sammlungtest.belvedere.at/objects/6148/rdf/internal/media/dispatcher/19792/fullThe Artist's Parents1896/1905[Johann Victor Krämer]Johann Victor KrämerOil on canvasDas Gemälde dürfte schon in einer ersten Version im Jahr 1896 fertiggestellt worden sein, worauf die Reste einer ausgekratzten Datierung direkt unterhalb der Signatur hindeuten. 1898 war in der ersten Secessionsausstellung ein "Porträt meiner Eltern" unter Nr. 376 ausgestellt, wohl dasselbe Bild in der Biennale Venedig 1899. Die ausgekratzte Datierung könnte auf eine spätere Überarbeitung durch den Künstler hindeuten.Paintinghttps://sammlungtest.belvedere.at/objects/200/rdf/internal/media/dispatcher/70911/fullPondc. 1900[Wilhelm Bernatzik]Wilhelm BernatzikOil on canvasPaintinghttps://sammlungtest.belvedere.at/objects/5238/rdf/internal/media/dispatcher/148283/fullJosef Lewinsky as Carlos in Clavigo1895[Gustav Klimt]Gustav KlimtOil on canvas 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.Paintinghttps://sammlungtest.belvedere.at/objects/6234/rdf/internal/media/dispatcher/21130/fullThe Harbour of Concarneauc. 1900[Max Kurzweil]Max KurzweilOil on canvasDas Bild war erstmals in der 17. Ausstellung der Secession ausgestellt, aus der es von der Theodor-Hörmann-Stiftung als Widmung an die Moderne Galerie im Unteren Belvedere angekauft wurde.Paintinghttps://sammlungtest.belvedere.at/objects/6454/rdf/internal/media/dispatcher/114728/fullThe “Naschmarkt" in Vienna1894[Carl Moll]Carl MollOil on canvasVienna’s old Naschmarkt is a hive of activity. Stalls are tightly packed, the Baroque church of St. Charles rises into the cloudy sky behind. In addition to this idyllic image of everyday life, Carl Moll has sensitively captured the atmospheric light. The summer sun shimmers and glistens, casts dark shadows, and imbues the painting with its unique appeal. By combining French Impressionism with an endeavor to portray visible reality, Moll and his generation of artists breathed new life into Austrian painting in their day. Their path usually led them outdoors where they depicted all they saw in fleeting atmospheres of light, air, and weather. Paintinghttps://sammlungtest.belvedere.at/objects/5950/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/4120/fullFrancesca da Rimini and Paoloc. 1890[Ernst Klimt]Ernst KlimtOil on canvasPaintinghttps://sammlungtest.belvedere.at/objects/10093/rdf/internal/media/dispatcher/81521/fullThe Theater of Dionysus in Athens. Study for the ceiling painting in the staircases of the Burgtheater, Vienna1886[Franz von Matsch]Franz von MatschOil on canvasPaintinghttps://sammlungtest.belvedere.at/objects/61373/rdf/internal/media/dispatcher/87121/fullStill Life with Armorc. 1885[Ernst Klimt]Ernst KlimtOil on canvas on cardboardDas Stillleben stellt zwei Teile einer bislang nicht identifizierten Rüstung dar. Die Sturmhaube ist eine freie Nachahmung der sogenannten "Bourguignote à la chimère" aus dem Pariser Musée de l‘ Armée (Inv. Nr. H 254).Paintinghttps://sammlungtest.belvedere.at/objects/1468/rdf/internal/media/dispatcher/134815/fullBeethoven1885 (first version), 1902 (monumental version), 1907 (reduction)[Max Klinger]Max KlingerBronzeSculpturehttps://sammlungtest.belvedere.at/objects/35291/rdf/internal/media/dispatcher/34409/fullStudy for a Lunette of the National Theatre in Rijeka1884/1885[Ernst Klimt]Ernst KlimtOil on canvasDie Ausführung des Entwurfs befindet sich über der linken Proszeniumloge des Kroatischen Nationaltheaters in Rijeka. Im Oberösterreichischen Landesmuseum befindet sich ein füher Gustav und inzwischen ebenfalls Ernst Klimt zugeschriebener Entwurf für das Gemälde über der rechten Proszeniumloge. Ernst Klimt schuf für diesen AUftrag auch ein großes allegorisches Gemälde über dem Proszenium, während Gustav Klimt und Franz Matsch je drei große Deckenbilder malten.Paintinghttps://sammlungtest.belvedere.at/objects/13906/rdf/internal/media/dispatcher/38908/fullHermine and Klara Klimtc. 1882[Franz von Matsch]Franz von MatschOil on canvasPaintinghttps://sammlungtest.belvedere.at/objects/29687/rdf/internal/media/dispatcher/130171/fullThe Five Senses: Smell1872/1879[Hans Makart]Hans MakartOil on canvas Hearing, Touch, Sight, Smell, and Taste: the Belvedere collection holds Hans Makart’s complete series of paintings depicting the five senses. True to the tastes of the time, the artist represented these with nude female models, depicting a sequence of views from a single rotation of the body and incorporating subtle allusions to the senses. The series was commissioned by Baron Joseph Alexander von Helfert for his apartment on Vienna’s prestigious Parkring. Narrow formats were chosen so the paintings could be hung between the windows, although they never actually reached their intended destination. Paintinghttps://sammlungtest.belvedere.at/objects/9525/rdf/internal/media/dispatcher/130173/fullThe Five Senses: Hearing1872/1879[Hans Makart]Hans MakartOil on canvasHearing, Touch, Sight, Smell, and Taste: the Belvedere collection holds Hans Makart’s complete series of paintings depicting the five senses. True to the tastes of the time, the artist represented these with nude female models, depicting a sequence of views from a single rotation of the body and incorporating subtle allusions to the senses. The series was commissioned by Baron Joseph Alexander von Helfert for his apartment on Vienna’s prestigious Parkring. Narrow formats were chosen so the paintings could be hung between the windows, although they never actually reached their intended destination.Paintinghttps://sammlungtest.belvedere.at/objects/9527/rdf