24/internal/media/dispatcher/9192/fullHead of the Sculptor Toni Stadler1935[Gerhard Marcks]Gerhard MarcksBronzeSculpturehttps://sammlungtest.belvedere.at/objects/2749/rdf/internal/media/dispatcher/9288/fullThe Garden Woman1934[Gerhard Marcks]Gerhard MarcksBronzeSculpturehttps://sammlungtest.belvedere.at/objects/2748/rdf/internal/media/dispatcher/5432/fullGirl with Foliage Plant1923[Karl Hofer]Karl HoferOil on canvasPaintinghttps://sammlungtest.belvedere.at/objects/8301/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/9204/fullThe Kiss II1921 (cast: 1929/1930)[Ernst Barlach]Ernst BarlachBronzeSculpturehttps://sammlungtest.belvedere.at/objects/2999/rdf/internal/media/dispatcher/7673/fullMeerweibchen1921[Georg Kolbe]Georg KolbeBronzeSculpturehttps://sammlungtest.belvedere.at/objects/3091/rdf/internal/media/dispatcher/4867/fullThe Painter Broncia Kollerc. 1921/1922[Broncia Koller-Pinell, Karl Hofer]Karl HoferOil on canvasPaintinghttps://sammlungtest.belvedere.at/objects/7733/rdf/internal/media/dispatcher/10562/fullCoastal Landscape1921[Erich Heckel]Erich HeckelWatercolor, pencil on paperDrawing arthttps://sammlungtest.belvedere.at/objects/8175/rdf/internal/media/dispatcher/7656/fullAlfred Flechtheim1921[Hermann Haller]Hermann HallerTerracotta auf lackiertem HolzsockelAlfred Flechtheim (1878–1937) war Kunsthändler.Sculpturehttps://sammlungtest.belvedere.at/objects/8261/rdf/internal/media/dispatcher/11975/fullFish Still Life with Lemon1921[Henri Victor Gabriel Le Fauconnier]Henri Victor Gabriel Le FauconnierOil on canvasPaintinghttps://sammlungtest.belvedere.at/objects/8329/rdf/internal/media/dispatcher/5812/fullThe Mountains of Klostersc. 1923[Ernst Ludwig Kirchner]Ernst Ludwig KirchnerOil on canvasErnst Ludwig Kirchner is regarded as one of the main exponents of German Expressionism. The painter was also a leading figure in the artist group Brücke, which he co-founded in 1905. In 1917 Kirchner moved to Switzerland to recuperate after suffering a nervous breakdown during his military service. In the alpine landscape around Davos he discovered new motifs for his art. Kirchner painted dramatic mountain panoramas, views of deserted countryside, and majestic peaks. His energetic application of bold colors also serves to add rhythm to the composition. Forms from the towering mountains are thus echoed in the trees while the curves of the clouds recur in the foreground alpine pastures. Paintinghttps://sammlungtest.belvedere.at/objects/8275/rdf/internal/media/dispatcher/119436/fullFemale Nudec. 1921[Alexander Archipenko]Alexander ArchipenkoBronze The woman is standing bent forward, her right leg placed in front of her left. She is naked. Her body seems both strangely stretched and compressed, which makes it clear that Archipenko was not interested in reproducing natural proportions, but rather in an - ultimately abstract - liberty with shapes. In this “large form” without a real caesura like that usually provided by the waistline, the thighs merge into the torso, where the forms become more detailed and compact. The bent left arm, the small breasts, and the fingers are individual shapes that lead to a veritable “explosion of forms” in the context of the figure. This guides our gaze up to the head, where it is returned to its starting point by the figure’s lowered eyes. The woman’s body is truncated, meaning the limbs are intentionally omitted. For example, the right arm is missing and the figure is cut off below the knee by the stone base. As the support behind the figure suggests, this is an integral component of the artwork: the base and support have the same angular form and thus stand in intentional contrast to the undulating outline of the figure.Sculpturehttps://sammlungtest.belvedere.at/objects/8238/rdf/internal/media/dispatcher/5401/fullHousesc. 1920[Maurice de Vlaminck]Maurice de VlaminckOil on canvasPaintinghttps://sammlungtest.belvedere.at/objects/8080/rdf/internal/media/dispatcher/12705/fullSemi-Nude with a Bunch of Rosesc. 1920[Henri Victor Gabriel Le Fauconnier]Henri Victor Gabriel Le FauconnierWatercolor, charcoal on paper, mounted on cardboardDrawing arthttps://sammlungtest.belvedere.at/objects/8379/rdf/internal/media/dispatcher/4819/fullStill Life with Apples and Porcelain Jug1912[Max Pechstein]Max PechsteinOil on canvasPaintinghttps://sammlungtest.belvedere.at/objects/3102/rdf/internal/media/dispatcher/5294/fullSelf-Portrait1912[Alexej von Jawlensky]Alexej von JawlenskyOil on cardboard, mounted on canvasRückseite eines ursprünglich doppelseitig bemalten Kartons. Die Vorderseite zeigt ein Damenbildnis (Inv.-Nr. 4027). Der Karton wurde 1957 aufgetrennt und beide Seiten auf Leinwand aufgezogen.Paintinghttps://sammlungtest.belvedere.at/objects/3399/rdf/internal/media/dispatcher/70811/fullBüste der "Knienden"1911[Wilhelm Lehmbruck]Wilhelm LehmbruckGrogVon der Büste wie auch von der ganzen Figur existieren mehrere Varianten in verschiedenen Materialien.Sculpturehttps://sammlungtest.belvedere.at/objects/3165/rdf/internal/media/dispatcher/10554/fullThe King Beholds the Maidc. 1910[Eugen von Kahler]Eugen von KahlerOil on canvasPaintinghttps://sammlungtest.belvedere.at/objects/540/rdf/internal/media/dispatcher/10643/fullOriental Bazaarc. 1910[Eugen von Kahler]Eugen von KahlerOil on canvasPaintinghttps://sammlungtest.belvedere.at/objects/541/rdf/internal/media/dispatcher/54397/fullJoseph Relating his Dreams1910[Emil Nolde]Emil NoldeOil on canvas After a health crisis as the result of being poisoned, from 1909 Nolde increasingly turned to religious subjects, which would become an important visual source for his future work. „Joseph Relating His Dreams“ shows the scene from the Old Testament in which Joseph tells his brothers about his nocturnal visions and reaps nothing in return but derision and ridicule. Nolde positions him in the center of his composition as a seemingly thoughtful, slender young man in a shirt with a flamboyant pattern. With closed eyes the delicate figure seems to be concentrating on mental pictures, while the coarse faces of the surrounding men transform into grotesque visages. The intensive colors and the dynamic brushstrokes exaggerate this threatening impression. Himself a solitary character, Nolder too may have felt like an outsider during his lifetime. His distinctive imagery met with little understanding; from the late 1930s the National Socialists used his oeuvre as a paragon of “degenerate art,” and in 1941 - despite his sympathy for the Nazi regime - he was ultimately banned from working.Paintinghttps://sammlungtest.belvedere.at/objects/8209/rdf/internal/media/dispatcher/4827/fullLady in front of Blue Base1908[Alexej von Jawlensky]Alexej von JawlenskyOil on cardboardPaintinghttps://sammlungtest.belvedere.at/objects/3402/rdf/internal/media/dispatcher/58170/fullPond Landscapec. 1912[Max Pechstein]Max PechsteinOil on canvasRückseite: Zwei AktePaintinghttps://sammlungtest.belvedere.at/objects/3129/rdf/internal/media/dispatcher/7432/fullFestive Street1905[Hans Purrmann]Hans PurrmannOil on canvasPaintinghttps://sammlungtest.belvedere.at/objects/3147/rdf/internal/media/dispatcher/7365/fullPortrait of a Womanc. 1908[Alexej von Jawlensky]Alexej von JawlenskyOil on cardboard, mounted on canvasVorderseite eines ursprünglich beidseitig bemalten Kartons (vgl. Inv.-Nr. 4605). Der Karton wurde 1957 aufgetrennt und beide Seiten auf Leinwand aufgezogen.Paintinghttps://sammlungtest.belvedere.at/objects/2821/rdf