43/internal/media/dispatcher/113298/fullVenice ("Fra sole e luna")1908[Pietro Fragiacomo]Pietro FragiacomoOil on woodShining faintly, the sun is sinking behind the buildings of the wide canal. The melancholy mood of this twilight scene is heightened by the ship tipped onto its side and the billowing smoke rising from a small church. Following independent studies of nature and six years working as a carpenter, turner, and blacksmith, Pietro Fragiacomo enrolled at the Venice Academia di belle arti in 1878. Thereafter he devoted himself to plein-air painting. Titled Between Sun and Moon (Fra sole e luna), he exhibited this view of the lagoon at the 9th Venice Biennale, where it was acquired for the Moderne Galerie, the future Austrian Gallery at the Belvedere.Paintinghttps://sammlungtest.belvedere.at/objects/9666/rdf/internal/media/dispatcher/129938/fullPortrait of a Manafter 1898[David Mosé]David MoséOil on canvasPaintinghttps://sammlungtest.belvedere.at/objects/55547/rdf/internal/media/dispatcher/8486/fullPerspective Sketch for “Street Fight in Venice”1887[August von Pettenkofen]August von PettenkofenPencil on tracing paper on paperDrawing arthttps://sammlungtest.belvedere.at/objects/3867/rdf/internal/media/dispatcher/30014/fullStreet Fight in Venice1887[August von Pettenkofen]August von PettenkofenOil on woodPaintinghttps://sammlungtest.belvedere.at/objects/5924/rdf/internal/media/dispatcher/138768/fullFestival of Santa Maria in a Venetian Churchc. 1890/1900[Franz Russ der Jüngere]Franz Russ der JüngereOil on cardboardPaintinghttps://sammlungtest.belvedere.at/objects/2379/rdf/internal/media/dispatcher/130151/fullAt Churchc. 1890[Cecil van Haanen]Cecil van HaanenOil on canvasTwo women in light-colored gowns and festive headdresses are looking around in anticipation on a church pew. The smile and expectant expression suggest that it is a joyous occasion. The light painting style with its loose, dynamic application of color also supports this impression. Cecil van Haanen first studied at the Vienna Academy of Fine Arts, then at the academies in Karlsruhe and Munich, and from 1873 at the art academy in Venice, a city that would become his home for most of his life. In the paintings he produced there, he specialized in genre scenes and subjects taken from the lives of ordinary Venetian people following the example set by Ludwig Johann Passini.Paintinghttps://sammlungtest.belvedere.at/objects/3158/rdf/internal/media/dispatcher/138274/fullVenetian Study with Ship1881[August von Pettenkofen]August von PettenkofenOil on woodPaintinghttps://sammlungtest.belvedere.at/objects/4063/rdf/internal/media/dispatcher/138660/fullAdmiral Tegetthoff in the Naval Battle of Lissa IIc. 1880/1882[Anton Romako]Anton RomakoOil on woodKleine Version von Inv.-Nr. 5032. — Das Bild steht im Bezug auf die Seeschlacht bei Lissa 1866 gegen Italien, aus der die österreichische Flotte unter Admiral Tegetthoff siegreich hervorging. — Romako malte kein Schlachtenbild, sondern versetzte sich (und den Betrachter) direkt auf das Flaggschiff der Österreichischen Flotte. Dadurch findet die eigentliche Schlacht quasi in "Mauerschau" statt – wir erkennen die Dramatik des augenblicklichen Geschehens in Mimik und Gestik der Besatzung. Der dargestellte Zeitpunkt ist der Moment kurz vor dem entscheidenden Rammstoß gegen das italienische Flaggschiff. Nicht allein diese extreme Nahsicht, sondern auch Elemente wie Rauch, Dampf und Splitter verdichten die Spannung dieser Kriegsszene in nie dagewesener Weise. Es war das erste mal, dass der Krieg aus einer rein psychologischen Sicht dargestellt wurde – und obwohl es sich hier nicht einmal um eine negative Interpretation handelt, wurde deshalb das Bild vollkommen abgelehnt. Man empfand die Darstellung Tegetthoffs, der in Anspannung den Ausgang seines waghalsigen Befehls abwartet, als unheldenhaft. Gerade durch diese Wiedergabe des Menschlichen aber war es Romako möglich, das ganze Spektrum des genialen Militärs zu vergegenwärtigen. Nicht zufällig wählten Generationen später österreichische Maler des Expressionismus (vor allen Kokoschka) Romako zu ihrem Vorbild. — [Dietrun Otten, 2002]Paintinghttps://sammlungtest.belvedere.at/objects/7998/rdf/internal/media/dispatcher/129980/fullScene from Veniceum 1880[Wilhelm von Lindenschmit d. J.]Wilhelm von Lindenschmit d. J.Oil on cardboardPaintinghttps://sammlungtest.belvedere.at/objects/55637/rdf/internal/media/dispatcher/112933/fullGirl with a Basket of Fish1879[Eugen von Blaas]Eugen von BlaasOil on panelPaintinghttps://sammlungtest.belvedere.at/objects/79698/rdf/internal/media/dispatcher/138673/fullAdmiral Tegetthoff in the Naval Battle of Lissa I1878-1880[Anton Romako]Anton RomakoOil on woodUnperturbed by the billowing smoke and flying shrapnel, Rear Admiral Wilhelm von Tegetthoff (1827–1871) stands on the bridge. Sailors are keeping the ship on course, as we witness the moment before it sinks the Italian battleship Re d’Italia. Romako’s picture met with utter incomprehension. It included none of the customary features that would have glorified the Austrian naval victory: no sea, no flags, no burning ships. In fact, the opposite is the case. The Austrian flagship is barely more than implied. The battle itself is reflected in the figures, in Tegetthoff’s assurance of victory and in the energy and tense concentration of his officers and sailors. Paintinghttps://sammlungtest.belvedere.at/objects/3783/rdf/internal/media/dispatcher/138670/fullVenetian Scene1877[Franz Leo Ruben]Franz Leo RubenOil on woodAfter studying at Vienna’s Academy of Fine Arts, Franz Leo Ruben went to Rome in 1868 to complete his education. From there he moved to Venice in 1874, where he lived until 1914. In the city on the lagoon the painter was interested above all in everyday scenes of local life. This picture shows children, churchgoers, workers, and flaneurs on the Fondamenta Zattere beside the Santa Maria del Rosario church. However, instead of an idyllic scene with a blue sky and sunshine, Ruben depicts a realistic impression of Venetian daily life in the rain. The focus here is not on the architecture but on people and the general atmosphere.Paintinghttps://sammlungtest.belvedere.at/objects/2358/rdf/internal/media/dispatcher/16017/fullThe Artist's Studio in Venice1877[Carl Schuch]Carl SchuchOil on canvasCarl Schuch painted his studio in such a way that we feel we are standing in the middle of the room ourselves. A staircase guides our gaze upward, while a group of seats is arranged in front of it. Books are stacked in the shelves, and a piano is further evidence of creativity. The brushstrokes—some swift, some carefully placed—add lively touches. This Viennese painter regularly spent the winter months from 1876 to 1882 in Venice. It was here that he rented the spacious studio depicted in this large-format view. Schuch’s exploration of art theory at the time is recorded in his notebooks, now in the Belvedere archives. Paintinghttps://sammlungtest.belvedere.at/objects/4094/rdf/internal/media/dispatcher/16051/fullPumpkin Sellers in Chioggia1876[Ludwig Johann Passini]Ludwig Johann PassiniWatercolor on paperA group of women dressed in typical everyday clothes has gathered by the canal in Chioggia, haggling over prices with a pumpkin seller who is trading from his boat. An elegantly attired woman obliviously hurries past the scene and the dilapidated buildings. Rather than highlighting the contrast between rich and poor, Ludwig Johann Passini was more concerned to capture an idyllic snapshot moment. The Viennese watercolorist is renowned for such colorful genre scenes from Italian, especially Venetian, daily life. After many years in Rome and in Germany, he moved to Venice in 1873.Drawing arthttps://sammlungtest.belvedere.at/objects/7988/rdf/internal/media/dispatcher/138656/fullOld Venetian Woman Blowing Her Nose1874[August von Pettenkofen]August von PettenkofenOil on woodPaintinghttps://sammlungtest.belvedere.at/objects/900/rdf/internal/media/dispatcher/139241/fullGirl at a Window on St. Mark’s Square, Feeding the Pigeonsc. 1875[Anton Romako]Anton RomakoOil on woodThrough an open window, we share a stylish young woman’s view of St. Mark’s Cathedral with its large domes, elegant arches, and intricate turrets. On the right, part of the striking façade of the Doge’s Palace can also be seen. In this small painting Anton Romako has combined the city’s iconic cathedral and signature pigeons with the portrait of a girl. Following his training in Vienna and Munich, the artist embarked on several years of travel through Europe in 1854, including a long sojourn in Venice. In 1857 he moved to Rome, where he remained for the next twenty years. He frequently visited the city on the lagoon during this time, depicting the picturesque life in succinct, small-scale images. Paintinghttps://sammlungtest.belvedere.at/objects/3369/rdf/internal/media/dispatcher/7663/fullCarnival on St. Mark’s Square in Venicec. 1873/1876[Anton Romako]Anton RomakoOil on canvasPaintinghttps://sammlungtest.belvedere.at/objects/998/rdf/internal/media/dispatcher/10066/fullSketch for the Painting “Arabian Merchants in Venice”after 1873[Leopold Carl Müller]Leopold Carl MüllerOil on canvasPaintinghttps://sammlungtest.belvedere.at/objects/3991/rdf/internal/media/dispatcher/139242/fullVenice Pays Homage to Caterina Cornaro1872/1873[Hans Makart]Hans MakartOil on canvas From the mid-nineteenth century, the art market speculated with the appeal of monumental paintings. The aim was to use them to attract potential buyers to sales exhibitions. For several weeks in 1873, the Vienna World’s Fair transformed the city into an artistic center of international standing. The gallerists Miethke and Wawra commissioned a history painting from Hans Makart intending to display this at the rival exhibition to the official art show. The artist did not disappoint. He presented Venice Pays Homage to Caterina Cornaro—a symbolic depiction of the city’s reverence toward the doge’s daughter married to the king of Cyprus. The work is the epitome of the “sensation picture”—a virtuoso piece intended for a mass audience that was considered to have served its purpose if it became the talk of the town.Paintinghttps://sammlungtest.belvedere.at/objects/4587/rdf/internal/media/dispatcher/139240/fullView from Mestre to Venice (Lagoon Scene)1871[Leopold Carl Müller]Leopold Carl MüllerOil on canvasLeopold Carl Müller studied at the Vienna art academy and broadened his horizons on many sojourns abroad that took him to Hungary, London, Paris, and other places. Between 1873 and 1886, he traveled in total nine times to Egypt, where he found the subjects for the pictures that gave him the nickname “Orient Müller.” He usually completed his highly staged “oriental” scenes at his studio in Venice, where he stayed for several months at a time. Like his colleague Anselm Feuerbach, he often lived and worked at the famous Ca’ Rezzonico. Müller’s atmospheric view of the Venetian lagoon is an intense color composition in which water and sky seem to merge into one. Paintinghttps://sammlungtest.belvedere.at/objects/3181/rdf/internal/media/dispatcher/140603/fullSelf-Portrait with Cigarette1871[Anselm Feuerbach]Anselm FeuerbachOil on canvas Anselm Feuerbach only shows his face in profile in this self-portrait. In stylish urban attire, with perfectly coiffured hair, neatly groomed mustache, and a cigarette held casually in his hand, he presents himself as an elegant dandy. Many other self-portraits show him in the same nonchalant pose. This portrait was painted in Rome, where the artist lived for a long time before being summoned to the Vienna art academy in 1873. He taught there as a professor for three years, during which time he painted monumental scenes from classical mythology on the ceiling of the main hall. The most prominent figure in the Vienna art world at the time, however, was Hans Makart, whose sensuous salon paintings were in marked contrast to Feuerbach’s lucid style. It is quite likely that it was this rivalry that prompted Feuerbach to depart again from Vienna soon afterward.Paintinghttps://sammlungtest.belvedere.at/objects/7893/rdf/internal/media/dispatcher/115298/fullEmpress Elisabeth1869[Franz Russ der Ältere]Franz Russ der ÄltereOil on canvasPaintinghttps://sammlungtest.belvedere.at/objects/4907/rdf/internal/media/dispatcher/139243/fullNocturnal Boat Trip in the Lagoon1857[Josef Carl Berthold Püttner]Josef Carl Berthold PüttnerOil on canvasPaintinghttps://sammlungtest.belvedere.at/objects/7564/rdf/internal/media/dispatcher/138855/fullGiovanni Bellini and Albrecht Dürer Are Celebrated by Venetian Artists1856[Jacopo de Andrea]Jacopo de AndreaOil on canvasA group of people wearing fine costumes are tightly packed together in a gondola. In the background, the campanile on St. Mark’s Square and the Doge’s Palace can be seen. Among the passengers is Albrecht Dürer, on the left with hat, beard, and long hair beneath a canopy. Beside him in yellow is Giovanni Bellini while the man in black, opposite Dürer, is Titian. In this imagined gathering of the most famous artists of their day, Jacopo d’Andrea remembers the superlative era of Venetian painting in the sixteenth century. The painting was commissioned by the Austrian imperial family and, after the work found favor, it was added to the Habsburg collections in Vienna.Paintinghttps://sammlungtest.belvedere.at/objects/7651/rdf/internal/media/dispatcher/134469/fullRescue of the Crew of the Austrian Brig “Pegno d’Amicizia” on 25 October 18521853[Christiaan Cornelis Kannemans]Christiaan Cornelis KannemansOil on canvas This large painting shows a dark and brooding stormy seascape with leaden skies. Two rescue boats are battling dangerous waves to come to the aid of a large merchant ship, which is already keeling precariously to one side. This painting represents the courageous rescue of the crew from the Austrian merchant ship “Pegno dʼAmicizia” that had run into difficulties near Brouwershaven off the Dutch coast in October 1852. Marine painter Christiaan Cornelis Kannemans, who specialized in depictions of stormy seascapes, brilliantly demonstrates his artistic skills in this work. Paintinghttps://sammlungtest.belvedere.at/objects/7653/rdf/internal/media/dispatcher/138852/fullVittore Pisani Receiving Holy Communion before Taking Command of an Expedition Against the Genoese1852[Lodovico Lipparini]Lodovico LippariniOil on canvasA large history painting for a crucial turning point in history: Ludovico Lipparini has depicted the moment, in the private chapel of the Doge’s Palace, when the charismatic Admiral Vettor Pisani is gathering strength and support for his forthcoming expedition. Under his command, in 1380 Venice succeeded in defeating its rival maritime power Genoa. The city on the lagoon thus regained its preeminence in the eastern Mediterranean. Lipparini, who was a professor at Venice art academy from 1846, highlighted the drama of the moment through light that appears almost holy. Clearly rendered portrayals honor the important personalities attending this solemn ceremony.Paintinghttps://sammlungtest.belvedere.at/objects/8644/rdf/internal/media/dispatcher/138664/fullThe Grand Canal in Venice1850[Franz Alt]Franz AltOil on canvasPaintinghttps://sammlungtest.belvedere.at/objects/8435/rdf/internal/media/dispatcher/138769/fullHanding Over of the Body of St Mark to the Venetians in Alexandria1847[Michael Kovács]Michael KovácsOil on canvasPaintinghttps://sammlungtest.belvedere.at/objects/2505/rdf/internal/media/dispatcher/130146/fullA Venetian Fisherman’s Family1846[Ludwig von Beniczky]Ludwig von BeniczkyOil on canvasA young fisherman is saying goodbye to his wife. He is about to set out to sea; two other men are preparing the boat for departure. This genre scene in bold colors follows the tradition of folkloric depictions of the rural population and fisher families in Italy. Vienna-trained painter Ludwig von Beniczky devoted special attention to capturing the typical local costume. The small wooden cutter, fisherman’s cottage, and the large stretched nets have been depicted with similar precision. The painting was purchased by Emperor Ferdinand I himself in 1846. At the time, Beniczky was director of the Academy of Fine Arts in Venice.Paintinghttps://sammlungtest.belvedere.at/objects/8496/rdf/internal/media/dispatcher/67116/fullSeascape in the Sirocco1846[Lorenzo Butti]Lorenzo ButtiOil on canvasMagnificent tall ships are at anchor in the Venetian lagoon and are surrounded by fishing barks. In the background on the left, we see the imperial frigate Belluna, a warship. On the right in the foreground, an imperial brig with rectangular sails is embarking on merchant voyages. The scirocco wind from the title seems to be blowing from different directions at the same time and inflating the sails. High up on the mast, a sailor is at work, a reddish-brown flag fluttering above his head. On this we can read the name “Butti”—the artist’s signature. When he painted this seascape, Butti was at the height of his career. In 1847 he was awarded the official title of Austrian court maritime painter.Paintinghttps://sammlungtest.belvedere.at/objects/8574/rdf/internal/media/dispatcher/129543/fullThe Doge’s Palace with the Riva degli Schiavoni in Venicec. 1850[Carlo Grubacs]Carlo Grubacsoil on canvasThe Doge’s Palace on the Grand Canal, the column with the lion of St. Mark, and the famous Venetian gondolas: a view and an atmosphere that are fondly remembered by art lovers and travelers to Venice! In the nineteenth century, the high demand for eye-catching images led to some local artists specializing entirely in these scenes—and Venetian painter Carlo Grubacs is one such example. Grubacs concentrated on small formats as these were easier to sell. His views are characterized by the contrast between objective, exact architecture and sketchily painted people.Paintinghttps://sammlungtest.belvedere.at/objects/55479/rdf/internal/media/dispatcher/97001/fullSt. Mark’s Basilica with St. Mark’s Squareum 1850[Carlo Grubacs]Carlo GrubacsAquarell auf PapierWohl Vorlage für einen Druck.Drawing arthttps://sammlungtest.belvedere.at/objects/55719/rdf/internal/media/dispatcher/138669/fullThe Doge Francesco Foscari Banishing His Son Jacopo (“I due Foscari”)c. 1838[Michelangelo Grigoletti]Michelangelo GrigolettiOil on canvasWe have been transported to the fifteenth century during the heyday of the Venetian Republic. The main character in this scene is the great doge Francesco Foscari. This image conveys how, as a powerful statesman, he was still not above the law. Foscari is saying farewell to his son Jacopo in the loggia of the Doge’s Palace. Jacopo was to be banished to Crete, despite the fact that the charges against him had never been proven. Although he was doge, his father had no authority to reopen the trial and rehabilitate Jacopo. This is one of the many pictures that during the mid-nineteenth century found their way from Italy to Vienna, where they were exhibited at the Upper Belvedere.Paintinghttps://sammlungtest.belvedere.at/objects/1837/rdf/internal/media/dispatcher/12159/fullGenre Scene in Veniceundated[Heinrich Stohl]Heinrich StohlWatercolor on paperDrawing arthttps://sammlungtest.belvedere.at/objects/6993/rdf/internal/media/dispatcher/24383/fullThe Doge Morosini Receiving the Staff of Command1838[Giuseppe Borsato]Giuseppe BorsatoOil on canvasPaintinghttps://sammlungtest.belvedere.at/objects/7635/rdf/internal/media/dispatcher/139244/fullChioggia before Sunrise1838[Giuseppe Canella der Ältere]Giuseppe Canella der ÄltereOil on canvasThe day begins calmly in this small bay. The rising sun drenches the sky in warm pastels. This spectacular gradation extends across the wide top section of the composition, which Giuseppe Canella gives ample space by positioning the horizon low on the canvas. After starting out as a frescoist and scenographer, he painted his first views of the lagoon while visiting Venice in 1815. From then on, the city inspired him to create detailed, realistic vedute in the tradition of Canaletto on the one hand and atmospheric pictures, like this vividly colored portrayal of early morning light, on the other. Canella subsequently found success as a landscape, veduta, and maritime painter. Paintinghttps://sammlungtest.belvedere.at/objects/12575/rdf/internal/media/dispatcher/130149/fullInterior of the Baptistery of San Marco in Venice1837[Giovanni Battista de Pian]Giovanni Battista de PianOil on woodPaintinghttps://sammlungtest.belvedere.at/objects/2417/rdf/internal/media/dispatcher/138659/fullView of the Giardini Pubblici from the Strada Nuova [now Via Garibaldi] in Venice1834[Rudolf von Alt]Rudolf von AltOil on canvasImpressive sailing ships with high masts, the red-white-red of Austrian flags fluttering in the wind. Intricate gondolas and buildings that seem to float on the water like the boats. The details of this view from the Strada Nuova promenade in Venice are delicately painted and meticulously recorded. Time and again the great watercolorist Rudolf von Alt felt the draw of the South; he was in Venice on multiple occasions. 1833 was the year of his first visit to the city on the lagoon. At the time he was accompanying his father Jakob Alt who, like his son, was a specialist in landscapes. In Venice the artist painted numerous watercolor studies, using these later on in his studio as the basis for oil paintings, as was the case with this work.Paintinghttps://sammlungtest.belvedere.at/objects/7882/rdf/internal/media/dispatcher/138662/fullView of San Giorgio Maggiore in Venice1834[Jakob Alt]Jakob AltOil on canvasPaintinghttps://sammlungtest.belvedere.at/objects/8336/rdf/internal/media/dispatcher/138678/fullThe Canal Grande in Venicec. 1837[Angiolo Barbini]Angiolo BarbiniOil on canvasPaintinghttps://sammlungtest.belvedere.at/objects/7719/rdf/internal/media/dispatcher/97272/fullArchduke Rainer of Austria (1783–1853), Viceroy of Lombardy-Venetia1820[Josef Kriehuber]Josef KriehuberPencil on paperDrawing arthttps://sammlungtest.belvedere.at/objects/55816/rdf/internal/media/dispatcher/138666/fullInterior of San Marco1815-1816[Giuseppe Borsato]Giuseppe BorsatoOil on canvasPaintinghttps://sammlungtest.belvedere.at/objects/8558/rdf/internal/media/dispatcher/138675/fullCourt of the Doge’s Palace1805/1814[Tranquillo Orsi]Tranquillo OrsiOil on canvasPaintinghttps://sammlungtest.belvedere.at/objects/7672/rdf