16/internal/media/dispatcher/95466/fullGloxinien1948[Alfred Wickenburg]Alfred WickenburgOil on canvasPaintinghttps://sammlungtest.belvedere.at/objects/3191/rdf/internal/media/dispatcher/9627/fullSmall Still Life with Red Flowerundated[Robin Christian Andersen]Robin Christian AndersenOil on cardboardPaintinghttps://sammlungtest.belvedere.at/objects/3344/rdf/internal/media/dispatcher/15866/fullYearning1921[Anton Kolig]Anton KoligOil on canvasPaintinghttps://sammlungtest.belvedere.at/objects/3250/rdf/internal/media/dispatcher/108229/fullKneeling Narcissus1920[Anton Kolig]Anton KoligOil on canvasPaintinghttps://sammlungtest.belvedere.at/objects/3352/rdf/internal/media/dispatcher/94719/fullSquatting Couple (The Family)1918[Egon Schiele]Egon SchieleOil on canvasA man and a woman, both nude, are crouching in a dark room. A child peers out from between the woman’s legs. Positioned protectively behind them both, the man with alert eyes reveals Schiele’s features. His bony body contrasts with the woman’s soft curves, who looks down, lost in thought. Despite their physical proximity, the two bodies appear isolated. Schiele’s own family would never come into existence. His wife Edith died of Spanish flu on October 28, 1918, when she was six months pregnant. Egon Schiele died three days later. Art critic Berta Zuckerkandl thereupon first used the title “The Family” for Squatting Couple.Paintinghttps://sammlungtest.belvedere.at/objects/3071/rdf/internal/media/dispatcher/5283/fullWoman in White1917/1918[Gustav Klimt, Gustav Klimt, Hugo Koller, Galerie Welz, Wien, Österreichische Galerie, Broncia Koller-Pinell]Gustav KlimtOil on canvas (unfinished) Lady in White is one of the unfinished paintings found in Gustav Klimt’s studio after his death. It is a good example of the painter’s approach in his late period: Klimt positioned his unknown model within the square canvas so as to form a diagonal that divides the picture space. This creates three sections in the composition, with the figure at the center, a light background on the left, and a dark surface opposite. While the visible brushwork is typical of Klimt’s late paintings, the pronounced flatness of the image is a characteristic of Viennese Jugendstil. Paintinghttps://sammlungtest.belvedere.at/objects/3080/rdf/internal/media/dispatcher/160537/fullAdam and Eve1916 - 1918[Gustav Klimt, Galerie Gustav Nebehay, Sonja Knips, Österreichische Galerie]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/12727/fullPortrait of a Woman in a Profile Viewc. 1913[Koloman Moser]Koloman MoserOil on canvasPaintinghttps://sammlungtest.belvedere.at/objects/3251/rdf/internal/media/dispatcher/12723/fullCountry House on the Waterfrontc. 1908[Koloman Moser]Koloman MoserOil on canvasPaintinghttps://sammlungtest.belvedere.at/objects/3173/rdf/internal/media/dispatcher/5291/fullThe Sisters Karoline and Pauline Fey1905[Richard Gerstl]Richard GerstlOil on canvasRichard Gerstl is a tragic figure. Although he never experienced material hardships in his brief existence, his life was overshadowed by melancholy and beset by disaster at every turn. He was the first of the young Expressionists to abandon the curvilinear contours, ornaments, and blossoms of Jugendstil. The Fey sisters rise like phantoms before the dark, empty space surrounding them. They pay no attention to each other; their faces are frozen like masks, their skin unnaturally pale, their lips bloodless. Schiele and Kokoschka composed their pictures in equally radical ways. But Gerstl was the only one of the three to receive no recognition during his life, cut short by his suicide in 1908.Paintinghttps://sammlungtest.belvedere.at/objects/3224/rdf/internal/media/dispatcher/163550/fullClothilde Beerc. 1880[Hans Makart]Hans MakartOil on woodDieses Porträt ist wahrscheinlich nach dem Bild im Salzburg Museum (vgl. Frodl, Makart, 2013, Kat. Nr. 362) entstanden. Es trägt mehr als jenes den Stempel der Persönlichkeit Clothilde Beers, einer Cousine des Malers. — [Vgl. Frodl, Makart, 2013, Kat. Nr. 421]Paintinghttps://sammlungtest.belvedere.at/objects/3361/rdf/internal/media/dispatcher/6082/fullEntry of Charles V. in Antwerp1875[Hans Makart]Hans MakartOil on canvasNach einem Atelierbesuch im Juli 1875 beschrieb Carl von Lützow die Skizze in der Kunstchronik. (Lützow, Bilder, 13.8.1875) In diesem ersten Entwurf zum großen Bild in Hamburg (vgl. Frodl, Makart, 2013, Kat. Nr. Kat. Nr. 352) ist Albrecht Dürer als Zeuge der historischen Szene bereits festgehalten (links im Bild). Makart wählte als Ort der Handlung den Hafen, erst später verlegte er den Standort des Festzugs weiter in die Stadt. Die Anordnung des Zugs hat er jedoch nicht mehr geändert. — [Vgl. Frodl, Makart, 2013, Kat. Nr. 306]Paintinghttps://sammlungtest.belvedere.at/objects/47193/rdf/internal/media/dispatcher/6858/fullThe Port of Naples with Vesuvius1836[Rudolf von Alt]Rudolf von AltOil on canvasItalien, genauer Neapel, wie ein Postkartenmotiv: im Hintergrund der mächtige Vesuv, aus dessen Krater Rauch aufsteigt, davor die malerische Bucht und schließlich das Ufer mit Badenden und Schiffen, die vor Anker liegen. Soldaten, Männer mit Zylindern, Fischer und Fischerinnen bevölkern die Promenade. Alle scheinen träge von der Mittagshitze. 23-jährig besuchte Rudolf von Alt in Begleitung seines Vaters erstmals den Süden Italiens und Neapel. Hier schuf er zahlreiche Aquarelle, die als Vorlagen für die Ausführung von Ölgemälden im Wiener Atelier dienen sollten. Beide gehörten zu jenen Landschaftsmalern, die auf der Suche nach immer neuen, gut verkäuflichen Motiven häufig auf Reisen waren.Paintinghttps://sammlungtest.belvedere.at/objects/3176/rdf/internal/media/dispatcher/76830/fullView of Vienna from Grinzing1824[Carl Agricola]Carl AgricolaOil on cardboardPaintinghttps://sammlungtest.belvedere.at/objects/3075/rdf/internal/media/dispatcher/76390/fullThe Danube and the Old Reichsbrücke1822[Carl Agricola]Carl AgricolaOil on cardboardPaintinghttps://sammlungtest.belvedere.at/objects/3074/rdf/internal/media/dispatcher/12189/fullHalf-Length Portrait of a Young Man in an Evening Landscapeundated[Philipp Otto Runge]Philipp Otto RungeOil on woodPaintinghttps://sammlungtest.belvedere.at/objects/3376/rdf