4/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/160537/fullAdam and Eve1916 - 1918[Gustav Klimt, Galerie Gustav Nebehay, Österreichische Galerie, Sonja Knips]Gustav KlimtOil on canvas (unfinished) Klimt rarely engaged with biblical subjects during his career. One of his last works, unfinished at his death, shows the first humans, Adam and Eve. He was not interested in the more traditional depiction of the Fall, however, instead focusing on the figure of Eve as the quintessential female. Adam has closed his eyes, intoxicated with love, as he tilts his head and nestles tenderly against Eve. But Eve is looking straight at us. The anemones on the ground are emblems of fertility; the leopard skin, meanwhile, was a symbol in ancient Greece of unbridled desire. In Klimt’s interpretation, then, it is Eve—and not the snake—who is the temptress.Paintinghttps://sammlungtest.belvedere.at/objects/3196/rdf/internal/media/dispatcher/161667/fullLandscape in Unter Sankt Veitc. 1918[Felix Albrecht Harta]Felix Albrecht HartaOil on canvasPaintinghttps://sammlungtest.belvedere.at/objects/9221/rdf/internal/media/dispatcher/50559/fullWoman Bathingc. 1899[George Minne]George MinneMarbleEs handelt sich wahrscheinlich um die Skulptur, die im Lesezimmer der 14. Ausstellung der Wiener Secession ausgestellt war und aus der Ausstellung von einem Wiener Sammler erworben wurde. Die Wiener Sonn- und Montags-Zeitung (5.5.1902, S. 6) schreibt, dass beide im Lesezimmer ausgestellten Arbeiten von Minne ("Jüngling" und "Badendes Mädchen") in die Hände von hiesigen Kunstliebhabern übergingen, und zwar in Marmor. Da der Katalog der Ausstellung diese Nummern als Gipsplastiken anführt, ist davon auszugehen, dass Minne nicht die ausgestellten Gipsskulpturen verkaufte, sondern auf Bestellung der Käufer die Skulpturen in Marmor ausführte, ein üblicher Vorgang der damaligen Ausstellungspraxis. Der Käufer war wahrscheinlich Fritz Waerndorfer, in dessen Sammlung diese Skulptur, gemeinsam mit einer große Zahl weiterer Arbeiten des Künstlers, dokumentiert ist. Später gelangte die Figur in die Sammlung Lederer.Sculpturehttps://sammlungtest.belvedere.at/objects/2985/rdf