8/internal/media/dispatcher/97122/fullAvenue to Schloss Kammer1912[Gustav Klimt]Gustav KlimtOil on canvas “I am longing to get away more than ever,” wrote Gustav Klimt at the beginning of August 1901 — away from the hot city for a sojourn by the lakes and mountains of Austria’s Salzkammergut. From 1900 to 1916 the artist spent several weeks each summer at the Attersee lake. This beautiful region inspired him and he painted intensively. Klimt depicted Schloss Kammer in a total of five paintings. At the end of an avenue of gnarled trees, the entrance and part of the yellow façade can be seen in the pictorial depths. Vibrant dabs of paint and bold contours reflect Klimt’s engagement with the international avant-garde, for example the work of Vincent van Gogh or Paul Cézanne that he had the chance to study at exhibitions in Vienna.Paintinghttps://sammlungtest.belvedere.at/objects/8691/rdf/internal/media/dispatcher/70875/fullUpper Austrian Farmhouse1911[Gustav Klimt]Gustav KlimtOil on canvasIt is as though we are standing beneath the apple tree ourselves, with the dense treetops towering over the view of the old farmhouse in the background. Gustav Klimt painted this picture during his summer retreat at the Attersee in 1911. Using a pointillist technique, he dissolved nature into numerous brushstrokes, while the house itself is rendered with clearly defined surfaces and contours. This gives the impression of a two-dimensional surface pattern, despite the spatial distance between the individual motifs. The blossoming and fertility of nature that so delighted Klimt, evident in the orchards and flower meadows of most of his landscapes, takes on the character of a natural symbolism that celebrates life in its prime.Paintinghttps://sammlungtest.belvedere.at/objects/380/rdf/internal/media/dispatcher/70896/fullSchloss Kammer on Lake Attersee III1911/1912[Gustav Klimt, Ferdinand Bloch-Bauer, Erich Führer, Ingeborg Anna Ucicky, Gustav Ucicky, Ferdinand und Adele Bloch-Bauer]Gustav KlimtOil on canvas “Arrived safely, forgot my opera glasses—need them badly,” Klimt reported to his sister Hermine in 1915 from his vacation home on Lake Attersee. The artist’s need during his summer vacation for optical aids—a telescope as well as opera glasses—becomes apparent from this painting: the lakeside facade of Schloss Kammer. Klimt probably captured it on canvas from the opposite shore using a telescope. The zoom effect causes the trees, the low front wing, and the red roof of the main building behind to appear as if on a single plane. With its softly out-of-focus reflections, the lake portion also appears to be part of the resulting two-dimensional image.Paintinghttps://sammlungtest.belvedere.at/objects/3112/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/114741/fullSunflower1907/1908[Gustav Klimt, Gustav Klimt, Richard Parzer]Gustav KlimtOil and gold leaf on canvas Gustav Klimt shows a single, majestic sunflower in the middle of this square composition that is entirely covered by a green hedge resembling a patterned tapestry. The head of the sunflower inclines slightly, while its leaves seem to protectively curl over the dense array of bright summer flowers at its base. Time and again Klimt’s sunflower has been seen to have human characteristics, its form reminiscent of the medieval Virgin of Mercy sheltering figures under her cloak. The famous art critic from the Vienna Secession Ludwig Hevesi described it as a “fairy in love.” Others have even seen the sunflower as a hidden portrait of the designer Emilie Flöge.Paintinghttps://sammlungtest.belvedere.at/objects/21865/rdf/internal/media/dispatcher/114740/fullCottage Garden with Sunflowers1906[Gustav Klimt]Gustav KlimtOil on canvas Sunflowers and dahlias, marigolds, asters, and flame flowers. In this work, Klimt more than lives up to his reputation as the “artist of eternal flowering.” Against a backdrop of verdant green, he has filled the picture plane with a vibrant sea of flowers. This abundant, vivid array stirs memories of a radiant summer day. It transports us to a dream world beyond space and time, where flowers and leaves never wilt. One typical characteristic of Klimt’s landscape paintings is their square format. In order to find the perfect section of a scene, the painter used a viewfinder. “This is a hole cut into a piece of cardboard,” he explained in a letter to his lover Mizzi Zimmermann.Paintinghttps://sammlungtest.belvedere.at/objects/2483/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/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