84/internal/media/dispatcher/24353/fullRuth von Mayenburg1951[Rudolf Hausner]Rudolf HausnerTempera on hardboard Rudolf Hausner, a key figure of the Vienna School of Fantastic Realism, is renowned for his technique inspired by the painterly precision of the old masters. By applying several layers of translucent paint on top of each other, he created this portrait of the Austrian writer and translator Ruth von Mayenburg (1907–1993) against a backdrop of dark walls and a gloomy sky. Hausner may be alluding to Mayenburg’s espionage activities: she fled to the Soviet Union through Prague after taking part in the February Uprising in Vienna in 1934. During World War II, while in exile, she became a member of the then outlawed KPÖ (Communist Party of Austria) and worked for the Soviet Army. Upon returning to Austria in 1945, she resigned from the party and devoted herself to writing. Paintinghttps://sammlungtest.belvedere.at/objects/6977/rdf/internal/media/dispatcher/18720/fullWorker at a Gas Plantc. 1948[Oskar Lautischar]Oskar LautischarOil on canvas A man in a blue work shirt stands on a bridge between railroad tracks at a gas plant. While his left hand rests casually on his hip, his right hand is holding a cigarette. The worker appears proud and self-assured in front of the expansive factory grounds. Pipes, steel and iron railings, and long chimneys emanating exhaust dominate the dark background, in which flames can also be seen. Oskar Lautischar studied at the Vienna Academy, where he also passed exams on reinforced concrete and statistics. In 1949, he submitted this work to the spring exhibition at the Vienna Künstlerhaus. However, in the end, a politically harmless landscape was put on display instead of the gas worker. Paintinghttps://sammlungtest.belvedere.at/objects/7091/rdf/internal/media/dispatcher/16388/fullStill Life with Porcelain and Red Roses1939[Paul Walter Ehrhardt]Paul Walter EhrhardtOil on canvas A white curtain rests elegantly arranged on a tabletop. Alongside, we see a big-bellied porcelain vase, a pearl necklace dangling from a champagne bowl, a small porcelain figurine, and a golden box with three red roses set center stage. In this still life, the colors, shapes, and textures of the individual items are subtly coordinated. German painter Paul Ehrhardt, who mostly worked in Munich, is known for such “paintings of interiors” characterized by muted colors and a distinctive Biedermeier aesthetic. This painting was shown at the Great German Art Exhibition in Munich in 1940 and then passed into the collection of Reich Foreign Minister Joachim von Ribbentrop. Paintinghttps://sammlungtest.belvedere.at/objects/1050/rdf/internal/media/dispatcher/16451/fullAt the Museum1939[August Eduard Wenzel]August Eduard WenzelOil on chipboard Bohemian painter and teacher August E. Wenzel chose an unusual theme for this scene: a museum visitor sitting on a bench, lost in thought. A notebook rests on her lap, and she has put aside a few pieces of writing. The most striking feature is the prominent beam of light radiating into the room in an angled direction. Is this meant to point to the enlightenment she has gained from observation and reading? But what sort of art was on display in museums at the time this was created in 1939? In the late 1930s, modern and avant-garde works that did not conform to National Socialist art doctrines were either banned from public collections, confiscated, or destroyed. Paintinghttps://sammlungtest.belvedere.at/objects/5108/rdf/internal/media/dispatcher/19412/fullQuarry in Golling1939[Otto Homolatsch]Otto HomolatschOil on canvas The rural milieu in the province of Salzburg is a central theme in the paintings of Otto Homolatsch, who moved to Saalbach im Pinzgau in 1912. With his stylized treatment of these motifs and their translation into the monumental, his pictures go far beyond the genre. In this large-format painting, Homolatsch shows a snow-covered quarry in Golling. Numerous men can be seen hard at work around a fully loaded freight car. On the left, a horse with a sled awaits its next assignment. The quarry towers behind the factory buildings. The picture was seen in 1939 at the Berlin exhibition Mountains, People, and Economy of the Ostmark. Paintinghttps://sammlungtest.belvedere.at/objects/8998/rdf/internal/media/dispatcher/12761/fullLuis Trenker with Camera1938[Sergius Pauser]Sergius PauserMixed media on hardboard The portrait of the mountaineer, actor, and director Luis Trenker (1892–1990) amidst a snow-covered landscape seems almost photorealistic. Trenker’s cinematic portrayals of his Alpine homeland were idealized and were promoted and used by the Nazi regime. This portrait by Sergius Pauser was shown in Berlin in 1939 as part of the exhibition Mountains, People, and Economy of the Ostmark and was later acquired by the Reich Ministry for Popular Enlightenment and Propaganda. After an Expressionist phase in the 1920s, Pauser devoted himself to the style of New Objectivity. The Vienna Academy appointed him a professor in 1943, but by the fall of 1944, he was classified as “politically unreliable.” Paintinghttps://sammlungtest.belvedere.at/objects/9005/rdf/internal/media/dispatcher/19677/fullGrete Gamerith on a Blue Couch1936[Walther Gamerith]Walther GamerithOil on canvas Pensive, perhaps a bit tired, but at ease with herself, Grete Gamerith, the artist’s wife, has settled down on a couch in an elegant dressing room. Using cool, harmonious shades of blue, Walther Gamerith depicts this private moment of serenity in a straightforward yet lyrical way. Portraits, nudes, and atmospheric landscapes were some of the painter’s favorite subjects. Encouraged by Karl Ludwig Strauch, who also recognized Egon Schiele’s talent, he studied at the Vienna Academy. He later lived in Vienna and at the Attersee and became a member of the Künstlerhaus, participating in numerous exhibitions. He died unexpectedly in his 46th year. Paintinghttps://sammlungtest.belvedere.at/objects/4513/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/19301/fullCourtyard between City Housing Blocks1934[Erich Miller-Hauenfels]Erich Miller-HauenfelsOil on canvas A sense of abandonment and desolation pervades this backyard scene by Erich Miller-Hauenfels. Walls of gray housing blocks rise up all around, with factory chimneys visible in the distance. In the adjacent courtyard, two pruned trees extend their barren branches into the sky. Next to them, a small tree adds a touch of life to the otherwise austere location. Miller-Hauenfels painted nature, cityscapes, and industrial landscapes, characterized by distinct lighting effects. Completed in 1934, this oppressive image alludes to the atmosphere of the February Uprising and the downfall of the First Republic through the elimination of Parliament a year earlier. Paintinghttps://sammlungtest.belvedere.at/objects/2179/rdf/internal/media/dispatcher/7490/fullWoman with Melon1933[Udo Weith]Udo WeithTempera on cardboard Holding a large watermelon in her hands and wearing a headscarf and a white apron, a woman, perhaps a domestic helper, stands in front of a plain, light-colored wooden wall. Her skin is tanned, and she looks at us with a gentle smile. In addition to portraits, Udo Weith also created traditional costume depictions, landscapes, and still lifes. What is striking in this rendering is the dark contour that outlines all surfaces and clearly separates them from one another. In 1930, the Viennese painter, graphic artist, and restorer attended a glass painting course at the Vienna School of Applied Arts, where he learned how to connect individual panes of glass with lead joints. This could have ended up directly influencing his painting style. Paintinghttps://sammlungtest.belvedere.at/objects/3246/rdf/internal/media/dispatcher/12787/fullOn the Gose River (in Goslar)1932[Rudolf Wacker]Rudolf WackerOil on wood In 1922, the painter Rudolf Wacker, a Vorarlberg native, married Ilse Moebius. Originally from Goslar, she worked in the arts and crafts industry. He created several paintings inspired by her native Goslar in the years that followed. This painting shows a view of the small, old German town. The wooden bridge across the Abzucht river leads to a deserted backyard. The houses seem uninviting and closed off, with mostly windowless facades and overlapping rooflines. The dark tones of the house on the left side of the picture contrast with the lighter colors on the right side. A prominent proponent of New Objectivity, Wacker described himself once as an “advocate of the unnoticed humble things.” Paintinghttps://sammlungtest.belvedere.at/objects/4039/rdf/internal/media/dispatcher/19805/fullMrs. Jochum1932[Albert Birkle]Albert BirkleOil on artist board The haunting portrait of Mrs. Jochum was painted in Salzburg by the Berlin artist Albert Birkle in the early 1930s. Pictured here is a proprietress of a fashion salon who was also Birkle's first wife's seamstress. The businesswoman posed for several portraits by the artist, and it is striking to see how directly she gazes at the viewer. The dark eyes, raised brows, and crossed hands supported by a cane make this portrait distinctive. A defining characteristic of Birkle's often sociocritical and somber images in these years is the emphasis placed on individual postures and facial features for dramatic effect.Paintinghttps://sammlungtest.belvedere.at/objects/4962/rdf/internal/media/dispatcher/126041/fullSteel Mill1932/1940[Paul Kirnig]Paul KirnigOil on woodPaintinghttps://sammlungtest.belvedere.at/objects/90189/rdf/internal/media/dispatcher/140584/fullMaria Lorenz1931[Karl Friedrich Gsur]Karl Friedrich GsurOil on canvas An elderly, elegantly dressed woman poses sitting in an armchair. Her forearms are crossed in her lap. With alert eyes, she looks at us intently. The texture of her skin is portrayed with as much precision as the details of her wardrobe. You can almost make out each strand of hair. In addition to landscapes and genre paintings, the Viennese artist Karl Friedrich Gsur primarily devoted himself to portraits, which were particularly captivating due to their realistic depiction. Despite the precise painting style, his pictures radiate an aura of warmth. This painting was exhibited in the year it was painted at the 52nd annual exhibition of the Wiener Künstlerhaus, of which Gsur was a member. Paintinghttps://sammlungtest.belvedere.at/objects/9798/rdf/internal/media/dispatcher/12779/fullThe Painter Roxane Zurunić1930[Franz Lerch]Franz LerchOil on canvas During the interwar period, Franz Lerch, a native of Vienna, was regarded as a proponent of New Objectivity. However, his works from these years, despite their understated neatness, do not appear cold or austere, but always warm, organic, lively as compared to the works of his German counterparts. The woman portrayed here, Roxane Zurunić, cultivated a remarkable path in education for her time. She began her painting studies at the Vienna Academy in 1920 and pursued art history, archaeology, psychology, and architecture in Vienna and Zagreb, where she received her doctorate in 1938. She worked as a teacher and took part in numerous exhibitions with her works. We see the young woman captured in this portrait as self-confident, distinctive, and elegant. Paintinghttps://sammlungtest.belvedere.at/objects/2005/rdf/internal/media/dispatcher/7538/fullThe Old Bookcase1929[Friedrich Frotzel]Friedrich FrotzelOil on canvas A woman with a fashionably short haircut sits on a wooden box in front of a well-stocked bookcase, facing away from the viewer. She is buried in a book, and on the floor is a white cloth she may have used earlier to remove dust. Friedrich Frotzel, a native of Vienna, captures this private moment of reading in a precise, almost photorealistic manner. He studied mechanical and electrical engineering at the Technical University of Vienna before becoming a self-taught painter in 1924. Frotzel, who joined the National Socialist Party in 1933, classified his art in 1938 as “traditional” and produced works in keeping with the party’s beliefs. Arts and craftshttps://sammlungtest.belvedere.at/objects/7093/rdf/internal/media/dispatcher/134474/fullStill Life with Blooming Cactus1929[Anton Hula]Anton HulaOil on canvasPaintinghttps://sammlungtest.belvedere.at/objects/10562/rdf/internal/media/dispatcher/19783/fullInn on the Edge of Town1927[Viktor Planckh]Viktor PlanckhOil on canvasPaintinghttps://sammlungtest.belvedere.at/objects/9567/rdf/internal/media/dispatcher/28657/fullPortrait of Rafael Buber1927[Josef Gassler]Josef GasslerOil on canvasPaintinghttps://sammlungtest.belvedere.at/objects/20271/rdf/internal/media/dispatcher/67114/fullWilted Sunflowers1926[Alois Hänisch]Alois HänischOil on canvasPaintinghttps://sammlungtest.belvedere.at/objects/2130/rdf/internal/media/dispatcher/139296/fullStill Life1926[Herbert Ploberger]Herbert PlobergerOil on canvas Austrian painter Herbert Ploberger has staged a large number of objects in this interior space dominated by light and shadow. A fruit still life with a pineapple and lemons is positioned on a chair. A lush bouquet of flowers in a vase radiates from the right edge of the picture. Opened wine bottles, a half-filled glass, an open newspaper, and the washbasin mark the absence of one or more people in this sober, tidy-looking composition. Ploberger worked primarily as a stage and costume designer. This picture, done in the New Objectivity style, is also reminiscent of a theater stage, where things seem frozen in silent dialogue. Paintinghttps://sammlungtest.belvedere.at/objects/4839/rdf/internal/media/dispatcher/129087/fullMy Son1926[Fritz Silberbauer]Fritz SilberbauerTempera on woodPaintinghttps://sammlungtest.belvedere.at/objects/9075/rdf/internal/media/dispatcher/139297/fullChildren Collecting Wood1925[Anton Filkuka]Anton FilkukaOil on canvas Four children tie their firewood collected from the forest into bundles to carry home. They are barefoot and wearing rags. After shouldering his heavy load, one of the children takes a short break in the sun. Landscapes, portraits, and genre scenes, especially in rural settings, are among the favorite subjects of Viennese artist Anton Filkuka. Fikulka primarily followed a realistic approach to art and paid little attention to modernist trends. His works, which address social conditions, were also greatly influenced by Ferdinand Georg Waldmüller. Paintinghttps://sammlungtest.belvedere.at/objects/1682/rdf/internal/media/dispatcher/9263/fullHead of a Boy1922[Georg Kolbe]Georg KolbeBronze, mounted on a cast stone baseSculpturehttps://sammlungtest.belvedere.at/objects/8297/rdf/internal/media/dispatcher/19426/fullDr. Otto Wolfgang Zenker1930s[Karl Suschnik]Karl SuschnikOil on canvasPaintinghttps://sammlungtest.belvedere.at/objects/5148/rdf/internal/media/dispatcher/44634/fullFlowering Plant at the Window1920/1930[Ernestine Rotter-Peters]Ernestine Rotter-PetersMixed media on paperDrawing arthttps://sammlungtest.belvedere.at/objects/18840/rdf/internal/media/dispatcher/27978/fullLibrary Interior1916–1919[Wolfgang Schaukal]Wolfgang SchaukalOil on canvasDas Bild entstand im Elternhaus des Künstlers in Wien-Grinzing. Rückseitig Ölskizze: Porträt eines Knaben im Profil nach links, bez. und dat.: OK / 21.7. / SJW. [ligiert]Paintinghttps://sammlungtest.belvedere.at/objects/18633/rdf/internal/media/dispatcher/18954/fullThe Artist’s Parents1913[Wojciech Stanislaw Weiss]Wojciech Stanislaw WeissOil on canvasPaintinghttps://sammlungtest.belvedere.at/objects/755/rdf/internal/media/dispatcher/12061/fullPreparations for the Feast1912[Jehudo Epstein]Jehudo EpsteinOil on canvas Numerous people surround a girl wearing a white dress and holding a candle as she gets ready for a celebration. The family is surely celebrating the girl’s First Communion. Excitement and festive commotion are in the air. The painter, Jehudo Epstein, who came from a Jewish shtetl in Belarus and trained at the Vienna Art Academy, was a great storyteller. His anecdotes from Jewish cultural life and reports on his rise up the social ladder can be found repeatedly in newspapers and magazines from the 1920s and 1930s. He stayed in northern Italy for a long time, where he captured people’s everyday lives as he did with this picture. Paintinghttps://sammlungtest.belvedere.at/objects/4655/rdf/internal/media/dispatcher/12176/fullSerenityundated[Gustav Adolf Hessl]Gustav Adolf HesslOil on canvasPaintinghttps://sammlungtest.belvedere.at/objects/691/rdf/internal/media/dispatcher/12851/fullMan Reading1905[Emanuel Baschny]Emanuel BaschnyOil on wood Unfortunately, nothing is known about the identity of the reading man, whom Emanuel Baschny has rendered here so accurately. With the book propped up on his broad chest and a pair of pince-nez on his nose, the gentleman, engrossed in his reading, does not seem to notice that he is being portrayed. He is somewhere private, perhaps in his garden. Baschny hailed from Moravia and studied at the Vienna Academy of Fine Arts. Soon after, his portraits and landscapes were regularly seen in exhibitions at the Vienna Künstlerhaus, of which he became a member in 1907. While Baschny’s work is little known today, during his lifetime the painter celebrated much success with his works based on the style of Realism. Paintinghttps://sammlungtest.belvedere.at/objects/6465/rdf/internal/media/dispatcher/19835/fullCafe Tomaselli in Salzburg1905[Theodor Josef Ethofer]Theodor Josef EthoferOil on woodPaintinghttps://sammlungtest.belvedere.at/objects/6565/rdf/internal/media/dispatcher/134464/fullKohlenbahnhof der Nordbahnc. 1908[Franz Hohenberger]Franz HohenbergerOil on canvasIm Katalog der 30. Secessionsausstellung 1908 sind neben diesem Werk noch zwei weitere Bilder Hohenbergers mit dem Titel "Kohlenhof der Nordbahn" verzeichnet.Paintinghttps://sammlungtest.belvedere.at/objects/6777/rdf/internal/media/dispatcher/28917/fullAutumn Sun on the Atterseebefore 1917[Olga Micheli]Olga MicheliOil on canvasPaintinghttps://sammlungtest.belvedere.at/objects/912/rdf/internal/media/dispatcher/10560/fullThe Barber of Singapore1900[Emil Orlik]Emil OrlikTempera, colored pencil and pencil on cardboardDrawing arthttps://sammlungtest.belvedere.at/objects/6192/rdf/internal/media/dispatcher/115112/fullThe Dwarf1900[Elena Luksch-Makowsky]Elena Luksch-MakowskyOil on canvas"Der Zwerg", in einigen Notizen auch "Der Fassbinder Zwerg" betitelt, macht weniger den Eindruck eines verrückten als den eines verstörten, von der Natur und dem Leben benachteiligen Menschen. Auch er ist in einen langen Mantel und Mütze gekleidet. Seine Haltung ist ein wenig gebückt, die gedrungene Figur allein verrät aber noch nicht sein Leiden. Es scheint fast so, als hätte sich Elena Luksch-Makowsky einen Spaß daraus gemacht, den kleinen Mann ebenfalls formatfüllend abzubilden, um dann mit einem einzigen Hinweis sein Geheimnis zu lüften: Die hintere, rechte Hand hält eine Türklinke gefasst, deren Höhe den Zwergenwuchs des Mannes entlarvt. — [aus: Athina Chazidis, Die Malerin und Bildhauerin Elena Luksch-Makowsky (1878–1967) Biografie und Beschreibung, Diss. phil. Hamburg 2000, S. 93].Paintinghttps://sammlungtest.belvedere.at/objects/31759/rdf/internal/media/dispatcher/6827/fullThe Poet Don Miguel of Segoviac. 1900[Ignacio Zuloaga]Ignacio ZuloagaOil on canvas Hailing from Basque Country, Ignacio Zuloaga was one of the best-known Spanish painters of his time. Even during his years as a student in Paris, he had already found success as a portraitist, which went on to become his artistic focus. In 1898, he discovered the Spanish city of Segovia and captured its inhabitants in numerous works. One of them was the folk poet, Don Miguel, presumably a local figure about whom nothing else is known. The man posed for the painter like a statue. With his cloak thrown on like a toga, the powerful hat, and the rolled-up manuscript, Zuloaga gave his model the bromidic appearance of a scholar. Paintinghttps://sammlungtest.belvedere.at/objects/6280/rdf/internal/media/dispatcher/59283/fullThe Puddler1894/1895[Constantin Emile Meunier]Constantin Emile MeunierBronze, stone plinthSelbstständige Büste nach dem Kopf der großformatigen Sitzfigur "Ruhender Puddler".Sculpturehttps://sammlungtest.belvedere.at/objects/1117/rdf/internal/media/dispatcher/9523/fullEin lieber Besuch1894[Max Kurzweil]Max KurzweilOil on canvas A horse led by a soldier enters the sickroom of an ailing man through the open door off a barracks courtyard covered in wintry snow. The patient is carefully raised in bed by another soldier. The weakened man keeps his eyes closed but his hand is raised loving greeting. The Viennese painter Max Kurzweil created this emotionally touching scene with a narrative flair. The patient’s condition seems very serious. Perhaps the meeting with the “dear visitor” of the title also portends a permanent parting. Kurzweil’s depiction of a commonplace soldier’s life corresponds to a realistic outlook on art. Only a few years later, however, he would turn his attention entirely to Viennese Art Nouveau. Paintinghttps://sammlungtest.belvedere.at/objects/1260/rdf/internal/media/dispatcher/7338/fullBreton Landscapec. 1898[Rudolf Ribarz]Rudolf RibarzOil on canvasPaintinghttps://sammlungtest.belvedere.at/objects/4590/rdf/internal/media/dispatcher/74028/fullThe Dock Worker1893[Constantin Emile Meunier]Constantin Emile MeunierBronze Constantin Émile Meunier was both a painter and a sculptor. After starting out in genre and history painting, he became particularly interested in various working environments after 1880. From 1886 onward, he took to exploring this curiosity through sculptural means, devoting himself exclusively to that art form. The artist achieved great fame with his heroic depictions of the working class. One of his most popular works is this figure of a dock worker, more than two meters high, of which numerous casts have been made. Instead of showing the ship’s firefighter doing his job, Meunier depicted him posed during a moment of calm. Sculpturehttps://sammlungtest.belvedere.at/objects/6530/rdf/internal/media/dispatcher/24268/fullThe Purple Gown. Frau von Birkenreuth1891[Karl Mediz]Karl MedizOil on canvas Unfortunately, we know little today of the woman named von Birkenreuth depicted here. In this large-format portrait, she confidently sits at quite a distance from the Viennese painter, Karl Mediz. This distance left enough space to artfully spread out the train of her magnificent dress. Mediz rendered the dress referred to in the title as the ‘Staatskleid’ (or state gown) in great detail. The color of the shimmering purple silk blends into the light pastel tones of the background and the blossoms of the floral bouquet. Mediz, who studied in Vienna and Munich, excelled here in his pursuit of meticulous detail, which he also applied to his practice of landscape painting. Paintinghttps://sammlungtest.belvedere.at/objects/13202/rdf/internal/media/dispatcher/19686/fullThe Weepersc. 1895[Jef Leempoels]Jef LeempoelsOil on canvas The title of the work refers to the biblical Beatitudes, according to which Jesus promises comfort and hope to those who weep. In the upper-left corner of the image, we can observe from a distance how believers in the church profess their faith. On the right in the background, we see a glowing crucifix. It bears the inscription “Croyez! vous serez consolez!”, that is, “Believe, and you will find solace!”. In the foreground, we are confronted by haunting faces full of suffering and sorrow, trying to arouse our sympathy. Belgian painter Jef Leempoels, who studied at the Academy of Fine Arts in Brussels, repeatedly dealt with religious themes that he translated into unusual compositions, like the one found in this work.Paintinghttps://sammlungtest.belvedere.at/objects/2477/rdf/internal/media/dispatcher/9056/fullKopf einer alten Frau mit der Hand am Mundc. 1890[Karoline Kubin]Karoline KubinOil on canvas The elderly woman stares off to the side with failing eyes. Her aging years have left their mark. It is not easy to read the sitter's facial expression and gesture in this densely atmospheric portrait by Karoline Kubin. Her face and the hand placed at her mouth appear almost three-dimensional against the dark background, in which outlines become increasingly blurred. The painter was about thirty years old when she captured the much older woman with great empathy. After completing residencies in Brussels, Antwerp, and Prague, Kubin spent several years with the Luitpold Group in Munich, a predominantly male organization. She settled permanently in Vienna in 1905, exhibiting at the Secession among other places. Paintinghttps://sammlungtest.belvedere.at/objects/2858/rdf/internal/media/dispatcher/19427/fullThe Farewellundated[Emil Strecker]Emil StreckerOil on canvasPaintinghttps://sammlungtest.belvedere.at/objects/5248/rdf/internal/media/dispatcher/6887/fullQuarry Pathc. 1895[Eugen Jettel]Eugen JettelOil on woodPaintinghttps://sammlungtest.belvedere.at/objects/6249/rdf/internal/media/dispatcher/12516/fullOriental Household Goodsca 1890[Camilla Friedländer Edle von Malheim]Camilla Friedländer Edle von MalheimOil on wood In the male-dominated discipline of painting, women were denied artistic training for a long time. Only a few manage to make a living from their work. Camilla Friedländer’s father, the renowned painter Friedrich Friedländer von Malheim, decided to teach her, supporting and encouraging her as an artist. The pair would undertake numerous journeys together. Camilla specialized in still-lifes modeled on 17th-century Dutch painting. Nevertheless, this detailed and precisely executed arrangement of musical instruments, weapons, and carpets from the “Orient” wholly corresponds to the fashionable tastes of the late 19th century. One of Camilla Friedländer’s greatest successes was her participation in the Chicago World’s Fair of 1893. Paintinghttps://sammlungtest.belvedere.at/objects/8780/rdf/internal/media/dispatcher/127193/fullPortrait of Mathilde Trauca 1893[Gustav Klimt]Gustav KlimtOil on canvas Mathilde Trau was the wife of Franz Trau, who operated a popular tea shop on the Wollzeile in downtown Vienna. Gustav Klimt painted her portrait as well as one of her husband. In terms of format and compositional detail, this picture of an affluent, middle-aged woman bears comparison to contemporary portrait photography. The delicate, almost miniature-painting-like technique exhibits a level of realism very close to that of photography. However, Klimt painted in this intricate style only for a short period. Midway through the 1890s he adapted a radically different style of painting, one that had strong associations with Impressionism and featured a more atmospheric manner. Paintinghttps://sammlungtest.belvedere.at/objects/87645/rdf/internal/media/dispatcher/13179/fullStill Life with Japanese Works of Art1888[Max Schödl]Max SchödlOil on canvasPaintinghttps://sammlungtest.belvedere.at/objects/2362/rdf/internal/media/dispatcher/4913/fullThe Crook1888[Josef Engelhart]Josef EngelhartMixed media on paper on canvas The Pülcher is an antiquated term for crook, and in the Viennese dialect it refers to someone of questionable character. With this title, the Viennese painter Josef Engelhart shows a young man in front of a billboard with his hat pulled down on his face, his hands in his pockets, and his posture slumped. The man’s long apron indicates he has work. In this street snapshot, however, the sitter’s intentions stay concealed. That Engelhart chose the motif of a “Viennese guy” is surprising. Having trained in Paris, the artist is best known for his depictions of elegant theaters and cafés. Paintinghttps://sammlungtest.belvedere.at/objects/8812/rdf/internal/media/dispatcher/12014/fullMarket Scene on the ”Haide”before 1902[Johann Nepomuk Geller]Johann Nepomuk GellerOil on cardboardDargestellt ist der Marktplatz "Am Werd" im 2. Wiener Bezirk. Das Areal war auch lange Zeit unter dem Namen "Auf der baumlosen Haide" bekannt".Paintinghttps://sammlungtest.belvedere.at/objects/6209/rdf/internal/media/dispatcher/5350/fullIce Floes on the Banks of the Thayac. 1891[Theodor von Hörmann]Theodor von HörmannOil on woodPaintinghttps://sammlungtest.belvedere.at/objects/4505/rdf/internal/media/dispatcher/4576/fullSawmill in the Morning Mist1886[Emil Jakob Schindler]Emil Jakob SchindlerOil on canvasPaintinghttps://sammlungtest.belvedere.at/objects/6094/rdf/internal/media/dispatcher/128486/fullStill Life with Five Bottles1884[Vincent van Gogh]Vincent van GoghOil on canvas This still life, limited to only a few objects, is an impressive example of Vincent van Gogh’s early painterly work. We see five bottles in front of a window, four of them made of clay. An already emptied bottle lies in front of other, stoppered vessels. In 1884 Van Gogh was living in Antwerp, having moved there from The Hague. It was only a year prior that he finally turned away from drawing and toward painting. At that time, he admired socially critical painters such as the Belgian artist Charles de Groux, a representative of Radical Realism. The earthy colors and simple materials such as wood and clay in Van Gogh’s still lifes also reflect the preoccupations of realistic painting. Paintinghttps://sammlungtest.belvedere.at/objects/7550/rdf/internal/media/dispatcher/70882/fullLock on the St. Denis Canal1883[Rudolf Ribarz]Rudolf RibarzOil on canvasPaintinghttps://sammlungtest.belvedere.at/objects/2183/rdf/internal/media/dispatcher/3802/fullBedside Visit1883[Ferry Beraton]Ferry BeratonOil on canvasPaintinghttps://sammlungtest.belvedere.at/objects/4615/rdf/internal/media/dispatcher/36537/fullBy the Latin Bridge in Sarajevo1883[Friedrich Alois Schönn]Friedrich Alois SchönnOil on canvas In 1878, Austro-Hungarian troops occupied Bosnia. Viennese painter Friedrich Alois Schönn, who specialized in geographical views, may have been commissioned to make this painting of the capital Sarajevo in light of that context. He chose to illustrate a lively market scene on the so-called Latin Bridge over the Miljacka River. It allowed him to explore the cultural and religious diversity of the city, which was formerly ruled by the Ottoman Empire. The assassination of the Austro-Hungarian heir to the throne took place at this bridge in July 1914, an event that would usher in World War I and the end of Austria's multi-ethnic state.Paintinghttps://sammlungtest.belvedere.at/objects/5858/rdf/internal/media/dispatcher/134468/fullToward School1883[Edmund Krenn]Edmund KrennOil on canvasPaintinghttps://sammlungtest.belvedere.at/objects/7594/rdf/internal/media/dispatcher/19069/fullLottery Sistersc. 1888[Josef Gisela]Josef GiselaOil on woodPaintinghttps://sammlungtest.belvedere.at/objects/7712/rdf/internal/media/dispatcher/4902/fullInterior of a Hammer Mill1883[Hugo Charlemont]Hugo CharlemontOil on wood Moravian painter Hugo Charlemont attended the Vienna Academy, where he also studied with Hans Makart. He showed little interest in the renowned Ringstrasse salon artist’s subject matters, however, preferring instead to paint scenes from the worlds of industry and manufacturing. In this scene, he offers a realistic insight into a hammer mill, where pieces of iron are being forged over an open fire. The painter illustrates the walls covered with tools and the tamped clay floor with great attention to detail. It is pleasing to observe how the embers of the fire and the sunlight penetrating through the open windows converge visually. Paintinghttps://sammlungtest.belvedere.at/objects/8583/rdf/internal/media/dispatcher/4857/fullFishermen’s Children in Zandvoort1882[Fritz von Uhde]Fritz von UhdeOil on canvas A paved path leads into a rear courtyard. Several girls can be seen standing in front of the facades of simple wooden houses. Some lean against the walls, some are busy with needlework. In the background, laundry hung on a line blows in the breeze. Calmly and attentively, the children meet the painter’s gaze. Fritz von Uhde, who came from Saxony and worked in Munich, captured this scene during his stay in the Dutch fishing town of Zandvoort. Like a photographer, he soberly portrays this glimpse into everyday life. The muted colors convey the mood of a rainy, cool day without any sort of embellishment. The following year, Uhde applied this motif to his large-format painting Der Leierkastenmann kommt (Arrival of the Organ Grinder). Paintinghttps://sammlungtest.belvedere.at/objects/6286/rdf/internal/media/dispatcher/9497/fullLarge Kitchen Still Life1879[Carl Schuch]Carl SchuchOil on canvasPaintinghttps://sammlungtest.belvedere.at/objects/99/rdf/internal/media/dispatcher/8957/fullGolden Anniversary in South Tyrolafter 1879[Eugenio Prati]Eugenio PratiOil on canvasPaintinghttps://sammlungtest.belvedere.at/objects/7718/rdf/internal/media/dispatcher/13160/fullThe Artist's Mother1878[Franz Rumpler]Franz RumplerOil on woodPaintinghttps://sammlungtest.belvedere.at/objects/8185/rdf/internal/media/dispatcher/28837/fullAdagio1876[Gabriel von Max]Gabriel von MaxOil on canvasPaintinghttps://sammlungtest.belvedere.at/objects/3464/rdf/internal/media/dispatcher/4787/fullArrival of a Train at Vienna Northwestern Station1875[Karl Karger]Karl KargerOil on canvas Karl Karger’s picture of the Northwestern Station is the only known painting to document the interior of a Viennese station from that time. Six large stations were built in the rapidly expanding city during this period. Trains from the Northwestern Station went to the northern and eastern regions of the crownland of Bohemia as well as to Dresden and Berlin. The new railroad network enabled large-scale migration to the city resulting in a rapid increase in Vienna’s population. From Bohemia, for instance, people came to fill the great demand for brickyard laborers and housekeepers in the city. Karger captures such social differences in his crowd of people he depicts gathered in the station concourse. Paintinghttps://sammlungtest.belvedere.at/objects/2512/rdf/internal/media/dispatcher/28654/fullOriental Womanca 1875[Edouard Frédéric Wilhelm Richter]Edouard Frédéric Wilhelm RichterOil on canvas Motifs from the mythical “Orient” were popular among the bourgeoisie in the late 19th century and were a favorite subject of the Paris-based painter Édouard Frédéric Wilhelm Richter. Scheherazade, narrator of Persian Arabian Nights mythology, is frequently illustrated in his work. In keeping with this theme, here an elegant, magnificently attired woman leans in her chair and stares ambiguously at the viewer. Somewhat disconcerting is the hairpin she holds in her left hand, and the dim illumination of the scene only adds to the uneasiness. Paintinghttps://sammlungtest.belvedere.at/objects/5251/rdf/internal/media/dispatcher/4859/fullHead of a Peasant Girlc. 1880[Wilhelm Leibl]Wilhelm LeiblOil on wood The characteristic hat, the light-colored shawl, and the tight-fitting decorative choker made of silver chains donned by the young woman in this portrait refer to a traditional costume of Bavaria. The painter Wilhelm Leibl, who lived mostly in Munich, captures this precisely, with every detail executed with equal care. Leibl is famous for his portraits and genre scenes from rural life. This depiction of a young woman was originally much larger and bore the title Das Mädchen mit der Nelke (Girl with Carnation). Leibl, however, was not satisfied with the composition and cut down the work after it failed to receive adequate recognition at a show in Paris. Paintinghttps://sammlungtest.belvedere.at/objects/6356/rdf/internal/media/dispatcher/113720/fullElisabeth von Nast-Kolb, née Hardegg1874[Anton Romako]Anton RomakoOil on woodPaintinghttps://sammlungtest.belvedere.at/objects/3788/rdf/internal/media/dispatcher/139895/fullCaesar at the Rubiconc. 1878[Wilhelm Trübner]Wilhelm TrübnerOil on canvas The title of this work already reveals the drama of the moment. Caesar at the Rubicon refers to the Roman ruler who, in 49 BCE, crossed the river Rubicon with his army along the upper Italian border as they marched toward Rome to defeat his rival, Pompey. The painting’s title is therefore to be understood in the sense of a special challenge. Wilhelm Trübner, who was close to the Munich circle of painters led by Wilhelm Leibl, transferred this turn of phrase to this still life with a dog. Answering to the name of Caesar, the artist’s Great Dane was put to the test with a tasty bratwurst placed right in front of its snout. Paintinghttps://sammlungtest.belvedere.at/objects/10015/rdf/internal/media/dispatcher/9530/fullThe Day’s Last Effort1871[Leopold Carl Müller]Leopold Carl MüllerOil on canvasPaintinghttps://sammlungtest.belvedere.at/objects/2516/rdf/internal/media/dispatcher/3831/fullDrunken Slovakian Peasants Racing Teams of Horses1869[Julius von Blaas d. Ä.]Julius von Blaas d. Ä.Oil on canvas These young men with their four-wheeled, horsedrawn carts are going head-to-head in a daredevil race at hellish speeds. They are wildly lashing the animals, who are wide-eyed at a full gallop down a country road. The sun has already disappeared behind the horizon, imbuing the scene with an ominous evening atmosphere. Julius Blaas studied painting at the academies in Venice, Florence, and Rome. This depiction is one of his early works, and the painter captures the dynamism and drama of a fast and furious race in a snapshot reminiscent of a film scene.Paintinghttps://sammlungtest.belvedere.at/objects/8512/rdf/internal/media/dispatcher/39950/fullA Wounded Manc. 1866[Gustave Courbet]Gustave CourbetOil on canvas The term “Realism” goes back to the French painter Gustave Courbet. During the Paris World’s Fair of 1855, he showed a series of paintings under this moniker, which introduced a new, sober, and unadorned mode of representation. This painting is a reiteration of a work he originally painted in 1844 and revised in 1854, which is now at the Musée d'Orsay in Paris. It is a self-portrait of the artist. In the original version, the figure of a woman is nestled against his shoulder. After Courbet was abandoned by his partner in 1854, he painted over the woman and added the sword. A bloody wound now marks him as an injured dueler.Paintinghttps://sammlungtest.belvedere.at/objects/8176/rdf/internal/media/dispatcher/4783/fullAgathe Thoma, the Artist's Sisterc. 1868[Hans Thoma]Hans ThomaOil on canvas, mounted on cardboardPaintinghttps://sammlungtest.belvedere.at/objects/2457/rdf/internal/media/dispatcher/6918/fullThe Pumpkin Garden1862[August von Pettenkofen]August von PettenkofenOil on woodPaintinghttps://sammlungtest.belvedere.at/objects/4004/rdf/internal/media/dispatcher/24369/fullThe Painter Franz von Lenbach1862[Arnold Böcklin]Arnold BöcklinOil on canvasPaintinghttps://sammlungtest.belvedere.at/objects/6351/rdf/internal/media/dispatcher/6796/fullReturn from Work (Lovers Parting Ways)1861[Ferdinand Georg Waldmüller]Ferdinand Georg WaldmüllerOil on woodPaintinghttps://sammlungtest.belvedere.at/objects/234/rdf/internal/media/dispatcher/6804/fullThe Bride's Farewell from her Parental Home1860[Ferdinand Georg Waldmüller]Ferdinand Georg WaldmüllerOil on woodIm Hintergrund die Höldrichsmühle bei Mödling.Paintinghttps://sammlungtest.belvedere.at/objects/2070/rdf/internal/media/dispatcher/134467/fullA Cow Attacked by Wolfesbefore 1872[Otto von Thoren]Otto von ThorenOil on canvasPaintinghttps://sammlungtest.belvedere.at/objects/2536/rdf/internal/media/dispatcher/77703/fullBlick auf den Klosterhof im Winter1854[Karl Georg Adolph Hasenpflug]Karl Georg Adolph HasenpflugOil on canvas A delicate blanket of snow has settled on the roofs and across the open courtyard of a Gothic monastery. The snow has also drifted into the covered cloister. The stone floor has been torn up, and individual slabs are scattered around. This place seems deserted and lonely. It is eerily quiet, tranquil, and there is a chill in the air. Karl Georg Adolph Hasenpflug, a painter born in Berlin and living in Halberstadt, specialized in atmospheric views of abandoned monastery ruins. He undoubtedly catered to a clientele that appreciated the romantic frisson found in such depictions. Paintinghttps://sammlungtest.belvedere.at/objects/7762/rdf/internal/media/dispatcher/91825/fullWoman Sitting in a Peasant's Kitchenca 1855[Johann Baptist Reiter]Johann Baptist ReiterOil on canvasPaintinghttps://sammlungtest.belvedere.at/objects/3177/rdf/internal/media/dispatcher/36433/fullChicken in Front of a Farmhouse1850/1860[Constant Troyon]Constant TroyonOil on woodPaintinghttps://sammlungtest.belvedere.at/objects/7919/rdf/internal/media/dispatcher/47266/fullRose in a Glass1849[Franz Krüger]Franz KrügerOil on cardboard on canvasPaintinghttps://sammlungtest.belvedere.at/objects/821/rdf/internal/media/dispatcher/6831/fullInterior of a Smithy1847[Franz Eybl]Franz EyblOil on canvas It was uncommon for the Viennese painter Franz Eybl to depict motifs such as this interior of a smithy. He is best known for his portraits and detailed studies of the human face. In this meticulous account of a small craftsman’s workshop, Eybl focuses on the details that make up the workshop, thus offering a documentary-style view behind the scenes. Interestingly, the walls above the hearth are not blackened by soot, which gives the forge an abandoned appearance. Although “pictures of industries” were painted elsewhere very early, Austrian painters tended to concentrate on smaller workshops for a much longer period. Paintinghttps://sammlungtest.belvedere.at/objects/6596/rdf