111/internal/media/dispatcher/25284/fullStill Life with Guinea Fowl1929[Herbert Boeckl]Herbert BoecklOil on canvasPaintinghttps://sammlungtest.belvedere.at/objects/8680/rdf/internal/media/dispatcher/6499/fullEichelhof near Nußdorf1929[Josef Dobrowsky]Josef DobrowskyOil on canvasPaintinghttps://sammlungtest.belvedere.at/objects/8687/rdf/internal/media/dispatcher/10567/fullStockholm1928[Josef Jungwirth]Josef JungwirthOil on canvasPaintinghttps://sammlungtest.belvedere.at/objects/1958/rdf/internal/media/dispatcher/12797/fullStill Life with Leaping Horse1928[Herbert Boeckl]Herbert BoecklOil on canvasPaintinghttps://sammlungtest.belvedere.at/objects/1981/rdf/internal/media/dispatcher/16429/fullDreary Winter Day (View from My Studio Window)1928[Alois Hänisch]Alois HänischOil on canvasPaintinghttps://sammlungtest.belvedere.at/objects/2367/rdf/internal/media/dispatcher/11974/fullThe Artist's Wifebefore 1923[Viktor Tischler]Viktor TischlerOil on woodPaintinghttps://sammlungtest.belvedere.at/objects/8239/rdf/internal/media/dispatcher/12707/fullMoonlit Night on the Banks of the Mur River in Graz1928[Wilhelm Thöny]Wilhelm ThönyOil on canvasDie hier gezeigte Stadtvedute steht exemplarisch für Thönys in Graz entstandenen Bilder aus der Mitte der 20er Jahre. Sie zeichnet sich zum großen Teil durch eine pastose, von Schwarztönen dominierte Farbgebung aus.Paintinghttps://sammlungtest.belvedere.at/objects/8623/rdf/internal/media/dispatcher/6118/fullKlostergarten in Tachau1928[Rudolf Böttger]Rudolf BöttgerOil on canvasPaintinghttps://sammlungtest.belvedere.at/objects/8632/rdf/internal/media/dispatcher/12708/fullStill Life with Clay Pipe1928[Gerhart Frankl]Gerhart FranklOil on canvasFrankls Beschäftigung mit dem Stillleben nimmt in den 1920er Jahren eine wichtige Stellung in der Entwicklung seiner Malerei ein. Zeigt er in seinen frühen Landschaften einen dynamisch-expressiven Umgang mit der Farbe, so steht hier das Spannungsverhältnis zwischen den sehr reduzierten und subtilen Farbwerten im Vordergrund. Das intensive Studium Frankls der Stillleben Cézannes kommt hier verstärkt zum Ausdruck. Werner Hofmann beschreibt das Bild als "Musterbeispiel samtiger Valeurmalerei". Noch im selben Jahr kaufte die Moderne Galerie das Bild an und unterstrich damit den bereits zur Entstehung dem Bild beigemessenen Wert für die Österreichische Kunst. — [Harald Krejci, 10/2009]Paintinghttps://sammlungtest.belvedere.at/objects/8637/rdf/internal/media/dispatcher/12759/fullPortrait of Arnold Clementschitsch1928[Herbert Boeckl]Herbert BoecklOil on canvasArnold Jakob Clementschitsch (1887-1970) war Maler, Graphiker und Schriftsteller. Clementschitsch kannte Boeckl persönlich.Paintinghttps://sammlungtest.belvedere.at/objects/8679/rdf/internal/media/dispatcher/9514/fullPortrait of a Lady1928[Josef Dobrowsky]Josef DobrowskyOil on canvasPaintinghttps://sammlungtest.belvedere.at/objects/8681/rdf/internal/media/dispatcher/4909/fullThe Artist's Family1928[Anton Kolig]Anton KoligOil on canvasPaintinghttps://sammlungtest.belvedere.at/objects/8690/rdf/internal/media/dispatcher/12710/fullHugo von Hofmannsthal1928[Anton Faistauer]Anton FaistauerOil on canvasPaintinghttps://sammlungtest.belvedere.at/objects/8811/rdf/internal/media/dispatcher/25283/fullMaria Saal and Ulrichsberg1927[Herbert Boeckl]Herbert BoecklOil on canvasPaintinghttps://sammlungtest.belvedere.at/objects/8621/rdf/internal/media/dispatcher/4906/fullPortrait of the Isepp Family1927/1928[Franz Wiegele]Franz WiegeleOil on canvasDargestellt ist die Familie Isepp mit Hubert Isepp sen., die Gattin Anna Isepp und den Kindern Grete und Hubert jun. Im Spiegel an der rückwärtigen Wand erscheint der Künstler selber.Paintinghttps://sammlungtest.belvedere.at/objects/8634/rdf/internal/media/dispatcher/15759/fullErika Tietze-Conrat1927[Georg Ehrlich]Georg EhrlichBronzeSculpturehttps://sammlungtest.belvedere.at/objects/8845/rdf/internal/media/dispatcher/12706/fullFarmstead1926[Franz von Zülow]Franz von ZülowOil on millboardPaintinghttps://sammlungtest.belvedere.at/objects/8410/rdf/internal/media/dispatcher/57951/fullThe Clown1926[Josef Dobner]Josef DobnerWoodSculpturehttps://sammlungtest.belvedere.at/objects/8650/rdf/internal/media/dispatcher/15422/fullPescheria di Bragora (Venice)1925[Edmund Pick-Morino]Edmund Pick-MorinoOil on canvasPaintinghttps://sammlungtest.belvedere.at/objects/8323/rdf/internal/media/dispatcher/16615/fullJack Dempsey1925[Ernesto de Fiori]Ernesto de FioriBronzeSculpturehttps://sammlungtest.belvedere.at/objects/8384/rdf/internal/media/dispatcher/9454/fullSelf-Portrait1925[Fritz Rojka]Fritz RojkaOil on canvasPaintinghttps://sammlungtest.belvedere.at/objects/8395/rdf/internal/media/dispatcher/12868/fullTorbole1925[Albert Paris Gütersloh]Albert Paris GüterslohOil on canvasPaintinghttps://sammlungtest.belvedere.at/objects/8396/rdf/internal/media/dispatcher/9547/fullLandscape near Aspang1924[Robin Christian Andersen]Robin Christian AndersenOil on canvasPaintinghttps://sammlungtest.belvedere.at/objects/8300/rdf/internal/media/dispatcher/128188/fullHerbert Eulenberg1924[Lovis Corinth]Lovis CorinthOil on canvasSouverän erfasst Corinth den Gesichtsausdruck des deutschen Schriftstellers Herbert Eulenberg, den er aus nächster Nähe einfängt. Eindringlich blickt uns Eulenberg an, die Lippen fest zusammengepresst. Der runde Kopf mit der hohen Stirn nimmt beinahe die Hälfte der Bildfläche ein. Mit kurzen, flotten Pinselstrichen gestaltet der Maler in den Farben Weiß, Rosa, Grau und Braun sowohl den Hintergrund als auch den Dargestellten. In seinen Händen hält Eulenberg ein rotes Buch mit schwarzer Umrandung – seine 1917 veröffentlichte Biografie Lovis Corinths. Durch die Publikation bringt sich Corinth selbst ins Bild. Die Biografien beider Männer verschränken sich und bezeugen die wechselseitige Wertschätzung.Paintinghttps://sammlungtest.belvedere.at/objects/8683/rdf/internal/media/dispatcher/19212/fullThe Old Farm Dogc. 1928[Alfred Kubin]Alfred KubinTusche, aquarelliertDrawing arthttps://sammlungtest.belvedere.at/objects/2980/rdf/internal/media/dispatcher/9450/fullSelf-Portrait1923[Renée Sintenis]Renée SintenisBronzeSculpturehttps://sammlungtest.belvedere.at/objects/8258/rdf/internal/media/dispatcher/5432/fullGirl with Foliage Plant1923[Karl Hofer]Karl HoferOil on canvasPaintinghttps://sammlungtest.belvedere.at/objects/8301/rdf/internal/media/dispatcher/23598/fullThe Herzogstand on Walchensee in the Snow1922[Lovis Corinth]Lovis CorinthOil on canvasAb 1919 residiert Corinth mit seiner Familie regelmäßig am oberbayrischen Walchensee, um sich vom Berliner Alltag zu erholen. Der Künstler schätzt die Gebirgslandschaft, malt sie – meist unter freiem Himmel – und nimmt die Gegend dabei als Spiegel seines inneren Erlebens wahr. Zum Transport der Leinwände dient ein Klapprahmen mit Tragschlaufen und Scharnieren. Werden die Scharniere geöffnet, lässt sich der Rahmen zusammenklappen. Die bemalte Fläche befindet sich dann im Inneren. Dafür sind in der Mitte der Leinwand kleine Einschnitte nötig. Der rasche Verkauf des Bildes dürfte dazu geführt haben, dass Corinth die Leinwand nicht auf einen Keilrahmen gespannt, sondern auf dem Klapprahmen belassen hat.Paintinghttps://sammlungtest.belvedere.at/objects/8177/rdf/internal/media/dispatcher/136028/fullStill Life with Chrysanthemums and Amaryllis1922[Lovis Corinth]Lovis CorinthOil on canvas Four years after the end of World War I, Lovis Corinth’s oil paintings radiated a sensory splendor and optimism that were completely at odds with the political and economic conditions of the time. The artist seems to immerse his boldly painted canvases into a sea of color. Still Life with Chrysanthemums and Amaryllis was purchased, together with a landscape, directly from the artist’s studio for the collection of the Österreichische Galerie, today’s Belvedere.Paintinghttps://sammlungtest.belvedere.at/objects/8246/rdf/internal/media/dispatcher/4905/fullCagnesc. 1927[Felix Albrecht Harta]Felix Albrecht HartaOil on canvasPaintinghttps://sammlungtest.belvedere.at/objects/8626/rdf/internal/media/dispatcher/19473/fullThe Wife of Sculptor Wilhelm Frass (1886-1968)c. 1926[Ferdinand Kitt]Ferdinand KittOil on canvasPaintinghttps://sammlungtest.belvedere.at/objects/8420/rdf/internal/media/dispatcher/15730/fullGirl1920[Edwin Grienauer]Edwin GrienauerBronzeSculpturehttps://sammlungtest.belvedere.at/objects/3000/rdf/internal/media/dispatcher/17024/fullSorrow1920[Anton Kolig]Anton KoligOil on canvasPaintinghttps://sammlungtest.belvedere.at/objects/7868/rdf/internal/media/dispatcher/12758/fullCowshed1919[Ludwig Heinrich Jungnickel]Ludwig Heinrich JungnickelOil on canvasPaintinghttps://sammlungtest.belvedere.at/objects/8647/rdf/internal/media/dispatcher/12709/fullSalzburg Evening Landscapec. 1924[Anton Faistauer]Anton FaistauerOil on canvasPaintinghttps://sammlungtest.belvedere.at/objects/8686/rdf/internal/media/dispatcher/94301/fullPortrait of the Artist's Wife, Edith Schiele1918[Egon Schiele]Egon SchieleOil on canvas“One evening Schiele was invited with his wife. She was completely obscured by her tousled blonde hair and a shy hesitancy,” wrote a friend of the artist’s about the young couple. They had married in 1915; three years later the Expressionist artist painted his wife with a highly sensitive gaze. It would be the first of his paintings to be acquired by a museum. But in the eyes of the then Director of the Belvedere (called the Österreichische Staatsgalerie at the time) it was too “arts-and-crafts” and vivid, whereupon Schiele reworked Edith’s dress in more muted hues. Technical analysis of the painting in 2018 brought this original version to light. This has been reconstructed and is shown here beside the final version of the painting.Paintinghttps://sammlungtest.belvedere.at/objects/1029/rdf/internal/media/dispatcher/5813/fullThe Klingler Quartet1917[Maximilian Oppenheimer]Maximilian OppenheimerOil and tempera on canvasThe string quartet founded by Karl Klingler in 1905 is still regarded today as one of the most important chamber music ensembles from the first half of the 20th century. Klingler played first violin, his brother Fridolin viola, and the remaining members alternated. The quartet finally disbanded in 1936 rather than cede to the pressure of the National Socialists to replace the Jewish cellist Ernst Silberstein. Max Oppenheimer, himself a passionate violinist, translated the musical interaction into a dynamic fabric of hands, scores, and instruments. After his art had been labeled “degenerate” by the Nazis, Oppenheimer fled from Vienna in 1938 via Switzerland to the USA. Paintinghttps://sammlungtest.belvedere.at/objects/8293/rdf/internal/media/dispatcher/28402/fullThe last human (Ecce Homo)1917–1924[Anton Hanak]Anton HanakBronzeThe outbreak of World War I in 1914 marked the start of an intense exploration of misery and human suffering in the work of Anton Hanak. The sculptor spent seven years working on this monumental figure, aiming to express the psychological states, individual crises, and also the wounds of an entire generation. His final sculpture depicts a naked male figure, his arms outstretched like wings, his upper body leaning slightly forward. The Last Human is a Man of Sorrows, his pose, facial expression, and gestures reminiscent of the crucified Christ. Sculpturehttps://sammlungtest.belvedere.at/objects/8295/rdf/internal/media/dispatcher/30745/fullAbessinian Boyc. 1922[Hermann Haller]Hermann HallerBronzeSculpturehttps://sammlungtest.belvedere.at/objects/8378/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/19283/fullMutterschaft1916 (cast:1927)[Pierre Auguste Renoir, Richard Guino]Pierre Auguste RenoirBronzeSculpturehttps://sammlungtest.belvedere.at/objects/1998/rdf/internal/media/dispatcher/5384/fullVerwundeter1916[Jan Štursa]Jan ŠtursaBronzeSculpturehttps://sammlungtest.belvedere.at/objects/7811/rdf/internal/media/dispatcher/50850/fullThe Young Sphinx1916[Anton Hanak]Anton HanakMarbleSculpturehttps://sammlungtest.belvedere.at/objects/7867/rdf/internal/media/dispatcher/119436/fullFemale Nudec. 1921[Alexander Archipenko]Alexander ArchipenkoBronzeSculpturehttps://sammlungtest.belvedere.at/objects/8238/rdf/internal/media/dispatcher/6844/fullKäthe Liebermann – The Artist's Daughter1916[Max Liebermann]Max LiebermannOil on canvasPaintinghttps://sammlungtest.belvedere.at/objects/8624/rdf/internal/media/dispatcher/76766/fullFemale Figure1915[Georg Kolbe]Georg KolbeBronzeSculpturehttps://sammlungtest.belvedere.at/objects/7950/rdf/internal/media/dispatcher/5401/fullHousesc. 1920[Maurice de Vlaminck]Maurice de VlaminckOil on canvasPaintinghttps://sammlungtest.belvedere.at/objects/8080/rdf/internal/media/dispatcher/4888/fullSiegreiche Venus (Venus Victorieuse)1915/1916[Pierre Auguste Renoir, Richard Guino]Pierre Auguste RenoirBronzeSculpturehttps://sammlungtest.belvedere.at/objects/8263/rdf/internal/media/dispatcher/12784/fullDer Kogel1914[Karl Sterrer]Karl SterrerOil on canvasPaintinghttps://sammlungtest.belvedere.at/objects/3200/rdf/internal/media/dispatcher/6498/fullDer große Eselreiter1914[August Gaul]August GaulBronzeSculpturehttps://sammlungtest.belvedere.at/objects/7871/rdf/internal/media/dispatcher/4753/fullHunter in the Dunes1913[Max Liebermann]Max LiebermannOil on canvasPaintinghttps://sammlungtest.belvedere.at/objects/652/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/128256/fullThe Painter Carl Moll1913[Oskar Kokoschka]Oskar KokoschkaOil on canvasCarl Moll (1861–1945) was fifty-two when Kokoschka painted this portrait. He looks relaxed sitting in his chair with an alert and interested gaze. Although his pose is calm, the lively brushwork gives him an energetic quality. The easel on the left alludes to Moll’s profession while his elegant suit reflects a successful career. As a painter and organizer of exhibitions, Moll features prominently in the “Who’s Who” of fin-de-siècle Vienna. In 1897 he co-founded the Vienna Secession. One year before painting this portrait, Kokoschka had met Moll’s stepdaughter Alma Mahler. The artist fell madly and obsessively in love with her, a passion that also fueled a surge in creativity.Paintinghttps://sammlungtest.belvedere.at/objects/2803/rdf/internal/media/dispatcher/12699/fullSmall Tree in Blossomc. 1911[Koloman Moser]Koloman MoserOil on canvasPaintinghttps://sammlungtest.belvedere.at/objects/7952/rdf/internal/media/dispatcher/47294/fullYoung Woman on a Red Couch1913[Anton Faistauer]Anton FaistauerOil on canvasPaintinghttps://sammlungtest.belvedere.at/objects/8296/rdf/internal/media/dispatcher/23603/fullTyrolean Landscape with Bridge1913[Lovis Corinth]Lovis CorinthOil on canvasDen Sommer 1913 verbringt die Familie Corinth in Sankt Ulrich im Grödner Tal im heutigen Südtirol. Prägend für diese Region ist die eindrucksvolle Bergwelt der Dolomiten. Doch zeigt der Maler davon nur einen markant abfallenden Felsen im Hintergrund. Er konzentriert sich auf den sonnenbeschienenen lehmigen Wanderweg vorn im Bild. Dieser Bereich fällt durch den offenen, wild gesetzten Pinselstrich auf. Folgt man dem Pfad über eine kleine, massiv gebaute Holzbrücke in den Wald, lädt in Sichtweite eine rote Bank zur Rast ein. Von hier aus kann ungestört dem leisen Plätschern des Wassers und dem Wind in den Baumkronen gelauscht werden. Das Spiel von Licht und Schatten und der dynamische Pinselstrich prägen die Corinth’sche „Empfindungsmalerei“.Paintinghttps://sammlungtest.belvedere.at/objects/8684/rdf/internal/media/dispatcher/17361/fullTilla Durieux IV1912[Ernst Barlach]Ernst BarlachPorcelainSculpturehttps://sammlungtest.belvedere.at/objects/7870/rdf/internal/media/dispatcher/70796/fullThe Swedish Painter Ella Wanner1912[Franz Wiegele]Franz WiegeleOil on canvasPaintinghttps://sammlungtest.belvedere.at/objects/8685/rdf/internal/media/dispatcher/97122/fullAvenue to Schloss Kammer1912[Gustav Klimt, Viktor Zuckerkandl, Paula Zuckerkandl, Victor & Paula Zuckerkandl, Österreichische Galerie]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/18781/fullUnterrichtsminister Dr. Gustav Marchet1911[Viktor Stauffer]Viktor StaufferOil on canvasPaintinghttps://sammlungtest.belvedere.at/objects/228/rdf/internal/media/dispatcher/70875/fullUpper Austrian Farmhouse1911[Gustav Klimt, Galerie Miethke, Wien, Moderne Galerie, Wien]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/11950/fullDer Ritterschlag des Grafen Boos-Waldeck durch den Großmeister des Deutschen Ritterordens Erzherzog Eugen in der Hofkirche in Innsbruck1911[Theodor Josef Ethofer]Theodor Josef EthoferOil on canvasPaintinghttps://sammlungtest.belvedere.at/objects/720/rdf/internal/media/dispatcher/135839/fullWoman Reading near a Goldfish Tank1911[Lovis Corinth]Lovis CorinthOil on canvasAls wichtiges Mitglied der Berliner Kunstszene residiert Corinth mit seiner Familie in einer repräsentativen Wohnung auf drei Etagen. Charlotte Berend-Corinth hat sich hier in einem Erker einen Leseplatz mit zahlreichen Grünpflanzen und einem Goldfischaquarium eingerichtet. Vier Tage malt Corinth 1911 an diesem Porträt seiner Frau in einem gestreiften Samtkleid. Jedes Detail soll dabei festgehalten werden. In impressionistischer Manier setzt der Künstler flotte Pinselstriche in leuchtenden Farben auf die Leinwand, weiße Lichtpunkte sorgen für Lebendigkeit. Der Blick von oben betont das Ausschnitthafte der Komposition. Gleichzeitig gelingt es Corinth, die Atmosphäre gekonnt einzufangen.Paintinghttps://sammlungtest.belvedere.at/objects/849/rdf/internal/media/dispatcher/62947/fullFighting Ibex1911[Franz Barwig der Ältere]Franz Barwig der ÄltereBronze, patinatedSculpturehttps://sammlungtest.belvedere.at/objects/1031/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, Österreichische Galerie, Österreichische Galerie]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/110724/fullSunflowers I1911[Egon Schiele]Egon SchieleOil on canvasWithered and parched, the brown leaves droop. Large flower heads gaze feebly at their young blooms below, but even these small fresh blossoms cannot halt the decay. Like Gustav Klimt, Schiele’s penchant for sunflowers was probably inspired by Vincent van Gogh. However, the young painter radically departed from Klimt’s decorative legacy. Instead, Schiele’s expressive works are full of contortions, distortions, and deformations. Even individual sunflowers become a reflection of spiritual turmoil and a symbol of all that is transient. “I am human. I love death and I love life,” Schiele once declared.Paintinghttps://sammlungtest.belvedere.at/objects/8294/rdf/internal/media/dispatcher/4904/fullBoys Bathing1911[Max Slevogt]Max SlevogtOil on canvasPaintinghttps://sammlungtest.belvedere.at/objects/8625/rdf/internal/media/dispatcher/9271/fullRichard Strauss1910[Hugo Lederer]Hugo LedererBronzeSculpturehttps://sammlungtest.belvedere.at/objects/277/rdf/internal/media/dispatcher/62951/fullBear at Playafter 1910[Franz Barwig der Ältere]Franz Barwig der ÄltereBronzeSculpturehttps://sammlungtest.belvedere.at/objects/1032/rdf/internal/media/dispatcher/3517/fullStill Life with Mutton and Haycinth1910[Oskar Kokoschka]Oskar KokoschkaOil on canvasThe artist a “mangy creature,” his pictures “repugnant buboes reeking of a foul smell.” It was above all Kokoschka’s wild, expressive style of painting that prompted art critics to man the barricades. And they were also appalled by his crude scratches into the oil paint and his experimental approach to traditional and religious themes. This still life was painted following an Easter invitation to the house of Dr. Oskar Reichel, an internist and collector. It shows a dead sheep, a tortoise, a mouse, and an amphibian, and a mysteriously shining hyacinth, all found at the collector’s home. Kokoschka grouped them into a haphazard arrangement of novel symbols of transience and redemption.Paintinghttps://sammlungtest.belvedere.at/objects/8158/rdf/internal/media/dispatcher/70795/fullBegräbnis des Wiener Bürgermeisters Dr. Karl Lueger1910[Oskar Laske]Oskar LaskeWatercolor, pencil on paperDrawing arthttps://sammlungtest.belvedere.at/objects/8180/rdf/internal/media/dispatcher/12756/fullThe Treasurer1910[Oskar Kokoschka]Oskar KokoschkaOil on canvasIn den Erwerbungsakten der Österreichischen Galerie aus dem Jahr 1923 noch als "Männliches Bildnis" bezeichnet, wurde das Bild seit der großen Kokoschka Ausstellung 1927 in Zürich oft irrtümlich als Porträt des Journalisten und Chefredakteurs der Wiener "Allgemeinen Zeitung" Dr. Julius Szeps bezeichnet. Nach Kokoschkas Erinnerung handelte es sich bei dem Dargestellten aber um einen Wiener Rent- oder Schätzmeister. Die frühen Bildnisse sind durch eine starke psychologische Deutung der Porträtierten gekennzeichnet. Bei dieser hypersensiblen Form der Darstellung, die als Seelenmalerei bezeichnet wurde, versucht Kokoschka mit malerischen Mitteln seelische Spannungen und innerste Vorgänge zu erfassen. Die dominierenden Gestaltungsmittel stellen hierbei das Zusammenspiel von lasierendem und pastosem Farbauftrag und die zeichnerischen, kratzenden Eingriffe in die Farbfläche dar. Dieses Liniengespinst bestimmt die Gesichtskontur des Dargestellten und die Binnenstruktur des schwarzen Mantels. Neben dem indifferenten Hintergrund findet sich in Form der hellen vom Kopf ausstrahlenden Aura ein weiteres Charakteristikum der frühen Porträts wieder. — [Harald Krejci, 4/2010]Paintinghttps://sammlungtest.belvedere.at/objects/8248/rdf/internal/media/dispatcher/21136/fullNudes in the Forest1910-1911[Franz Wiegele]Franz WiegeleOil on canvasPaintinghttps://sammlungtest.belvedere.at/objects/8400/rdf/internal/media/dispatcher/4749/fullGustav Mahler1909[Auguste Rodin]Auguste RodinBronzeRodin is regarded as the father of modern sculpture. Throughout his life, the French sculptor channeled his energies into the power of expression, breathing life into his work with unprecedented mastery. Rodin had a close relationship to Vienna. His work regularly appeared at Secession exhibitions after 1898. In 1903 he met Gustav Klimt and Egon Schiele. In 1909 Gustav Mahler, Austria’s greatest composer at the time, sat for him in Rodin’s Paris studio. The result was this bust: realistic and imbued with spirit, light and shadow trace every little imperfection on Mahler’s face. Rodin has given particular emphasis to the forehead. As the seat of thought, this was important to the sculptor for it visualized intelligence and a lively mind.Sculpturehttps://sammlungtest.belvedere.at/objects/201/rdf/internal/media/dispatcher/59345/fullDance of Death from the Year 18091908[Albin Egger-Lienz]Albin Egger-LienzCasein on canvasThe work of the East Tyrolean painter Albin Egger-Lienz is permeated with existential questions concerning life and death. Dance of Death from the Year 1809, a painting based on the 1809 war of liberation in Tyrol, was commissioned by the Modern Gallery, the predecessor institution of today’s Belvedere. This patriotic subject matter had been stipulated by the Acquisitions Committee in preparation for the celebrations marking the sixty-year jubilee of Emperor Franz Joseph’s coronation. But Egger-Lienz was still allowed artistic freedom. Instead of lauding the Tyrolean freedom fighters who, in loyalty to the emperor, rebelled against the Bavarian and Napoleonic troops, Egger-Lienz created a grim symbol of war: Four armed peasants are being led into battle by Death. Paintinghttps://sammlungtest.belvedere.at/objects/6649/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/5385/fullMen on the Seashore1908[Edvard Munch]Edvard MunchOil on canvasSummer 1907. Munch traveled to Warnemünde, a resort on the Baltic Sea, for a period of recovery. He rented a small fisherman’s house not far from the sea, where he discovered a new subject. For the first time the Norwegian artist focused his attention on the naked male body. The following year, he painted two men in a frontal pose, while the third plunges into the waves to join the rest of the group. A photo shows Munch working on a variation of the same motif. He is standing on the sandy beach, holding a palette and paintbrush, a naked model posing in the background. This version was intended for an exhibition at Kunstsalon Clematis in Hamburg, but it never left the gallery’s cellar: “Naked men are still unusual,” as the collector Gustav Schiefler wrote to Munch.Paintinghttps://sammlungtest.belvedere.at/objects/7860/rdf/internal/media/dispatcher/12739/fullCutting Timber1907[Ferdinand Andri]Ferdinand AndriOil on fiber cementPaintinghttps://sammlungtest.belvedere.at/objects/98/rdf/internal/media/dispatcher/28251/fullAlte Häuser in Gaudenzdorf1907[Ferdinand Brunner]Ferdinand BrunnerOil on canvasPaintinghttps://sammlungtest.belvedere.at/objects/6614/rdf/internal/media/dispatcher/5233/fullPark in Kösen1906[Edvard Munch]Edvard MunchOil on canvasDargestellt ist der Kurpark von Bad Kösen bei Naumburg an der Saale. Munch war 1906-07 zur Heilung seines Nervenleidens in Bad Kösen zur Kur.Paintinghttps://sammlungtest.belvedere.at/objects/879/rdf/internal/media/dispatcher/114740/fullCottage Garden with Sunflowers1906[Gustav Klimt, Karl Wittgenstein, Hermine Wittgenstein, Österreichische Galerie, Galerie Sanct Lucas]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/124914/fullToilettebefore 1912[Jan Štursa]Jan ŠtursaStoneZur Figur existiert auch eine Bronzeversion, datiert 1910, sowie in gebranntem Ton (Dorotheum Prag, 27.5.2017, Lot 346).Sculpturehttps://sammlungtest.belvedere.at/objects/378/rdf/internal/media/dispatcher/19440/fullHl. Georg im Bayerischen Nationalmuseum München1905[Rudolf Nissl]Rudolf NisslOil on canvasDer Münchner Maler Rudolf Nissl war Vollmitglied der Münchner und der Wiener Secession. Das Bild war bereits auf der 2. Ausstellung des Deutschen Künstlerbundes in Berlin 1905 ausgestellt und wurde im folgenden Frühjahr auf der 26. Ausstellung der Wiener Secession für die Moderne Galerie erworben.Paintinghttps://sammlungtest.belvedere.at/objects/6507/rdf/internal/media/dispatcher/164865/fullAction in Bondage1905[Aristide Maillol]Aristide MaillolBronzeEntstanden als Denkmal für Louis Auguste Blanqui (1805-1881) in Puget-Théniers bei Grenoble.Sculpturehttps://sammlungtest.belvedere.at/objects/8682/rdf/internal/media/dispatcher/9539/fullBauernschlitten im Schnee1904[Oswald Roux]Oswald RouxGouache on paperDrawing arthttps://sammlungtest.belvedere.at/objects/6364/rdf/internal/media/dispatcher/6829/fullGarden of the Edam Almshouse1904[Max Liebermann]Max LiebermannOil on canvasPaintinghttps://sammlungtest.belvedere.at/objects/6391/rdf/internal/media/dispatcher/19622/fullThe Artist's Wife1903[Carl Wollek]Carl WollekBronzeSculpturehttps://sammlungtest.belvedere.at/objects/6386/rdf/internal/media/dispatcher/49592/fullLandscape with Thunderstorm1901[Rudolf Jettmar]Rudolf JettmarWatercolor, pencil and pastel on paperDrawing arthttps://sammlungtest.belvedere.at/objects/6191/rdf/internal/media/dispatcher/142777/fullTwo Sisters1901[Rudolf Bacher]Rudolf BacherOil on canvasPaintinghttps://sammlungtest.belvedere.at/objects/6376/rdf/internal/media/dispatcher/103665/fullStill Life with Blue Flask, Sugar Jar and Apples1900/1902[Paul Cézanne]Paul CézanneWatercolor on paperPaintinghttps://sammlungtest.belvedere.at/objects/977/rdf/internal/media/dispatcher/4761/fullEmotion1900[Ferdinand Hodler]Ferdinand HodlerOil on canvas Barefoot, wearing a pale blue dress, a young woman stands gracefully in the middle of a landscape. She has raised her hands to her chest like a dancer while averting her face. The Swiss painter Ferdinand Hodler depicted his wife Berthe in this work. In an earlier presentation it was titled „Woman in a Flowery Meadow“. The later title „Emotion“ transformed the figure into the allegorical embodiment of a feeling. Hodler was an important exponent of Jugendstil and was also a member of the Vienna Secession. Many of his works — including this one — were shown at the 19th Secession exhibition in 1904. There it was acquired by the collector Carl Reininghaus, who sold the painting to what is now the Belvedere in 1918.Paintinghttps://sammlungtest.belvedere.at/objects/978/rdf/internal/media/dispatcher/18673/fullThe Painter Eduard Zetsche (1844-1927)undated[Wilhelm Victor Krausz]Wilhelm Victor KrauszOil on woodPaintinghttps://sammlungtest.belvedere.at/objects/3168/rdf/internal/media/dispatcher/4856/fullWhite Poplars1900[Adolf Hölzel]Adolf HölzelOil on canvas Two mighty poplars extend to the picture’s edges and define the composition: Adolf Holzel presents a textbook painting for his theory of balanced design—he formalizes landscape. Holzel studied painting in Vienna and Munich from 1872 to 1882. In 1887 he settled in Dachau near Munich and established a flourishing painting school. Students included German Expressionist Emil Nolde and Austrian artist Emilie Mediz-Pelikan. Holzel was a close friend of Viennese painter Carl Moll and a founding member of the Vienna Secession in 1897. He is seen as an important pioneer of abstract art.Paintinghttps://sammlungtest.belvedere.at/objects/6165/rdf/internal/media/dispatcher/4073/fullAfter the Rain1898[Gustav Klimt, Vereinigung bildender Künstler Österreichs Secession, Ministerium für Kultus und Unterricht, Moderne Galerie, Wien]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/28250/fullSchafpark (Heidemoor)1898[Heinrich von Zügel]Heinrich von ZügelOil on canvasPaintinghttps://sammlungtest.belvedere.at/objects/6607/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/107796/fullWoman, Rising from Bathc. 1896/1911[Edgar Degas]Edgar DegasBronzeSculpturehttps://sammlungtest.belvedere.at/objects/8693/rdf/internal/media/dispatcher/5363/fullEarly Springc. 1900[Akseli Gallen-Kallela]Akseli Gallen-KallelaOil on canvasAn image of spring as a symbol of change and renewal. Inspired by the latest artistic developments in cities such as Paris, Berlin, and Vienna, the Finnish artist Akseli Gallen-Kallela created pictures of nature and depicted the myths of his homeland. He achieved his international breakthrough at the Paris Exposition Universelle in 1900; the following year he exhibited at the Vienna Secession. Like the founders of the Secession, he, too, was looking for new forms of expression. By means of stylized shapes and bold colors, in his painting Spring he created a symbol of new beginnings. The first warm rays of sunshine melt the snow and spread positive energy. Paintinghttps://sammlungtest.belvedere.at/objects/6144/rdf/internal/media/dispatcher/9008/fullWhite Interiorc. 1900[Gotthardt Kuehl]Gotthardt KuehlOil on cardboardPaintinghttps://sammlungtest.belvedere.at/objects/6496/rdf