14/internal/media/dispatcher/6013/fullCentral Vienna1961[Kurt Regschek]Kurt RegschekMixed media on wood on panelPaintinghttps://sammlungtest.belvedere.at/objects/9246/rdf/internal/media/dispatcher/9567/fullThe Great Magician1959[Kurt Regschek]Kurt RegschekOil on canvasPaintinghttps://sammlungtest.belvedere.at/objects/9249/rdf/internal/media/dispatcher/9565/fullEinsiedler1957[Ernst Fuchs]Ernst FuchsOil on woodPaintinghttps://sammlungtest.belvedere.at/objects/9245/rdf/internal/media/dispatcher/6009/fullMoses in Front of the Burning Bush1956–1957[Ernst Fuchs]Ernst FuchsOil tempera on woodPaintinghttps://sammlungtest.belvedere.at/objects/9212/rdf/internal/media/dispatcher/146060/fullThieves in the Night1955[Arik Brauer]Arik BrauerOil on hardboardPaintinghttps://sammlungtest.belvedere.at/objects/4043/rdf/internal/media/dispatcher/6007/fullAdam and Eve1955[Wolfgang Hutter]Wolfgang HutterOil on paper on fiberboardPaintinghttps://sammlungtest.belvedere.at/objects/9043/rdf/internal/media/dispatcher/6010/fullFishing at Night1955[Arik Brauer]Arik BrauerOil on hardboardPaintinghttps://sammlungtest.belvedere.at/objects/9214/rdf/internal/media/dispatcher/5295/fullSummer and Winter1951[Anton Lehmden]Anton LehmdenTempera on hardboardPaintinghttps://sammlungtest.belvedere.at/objects/3420/rdf/internal/media/dispatcher/10689/fullAfter the Flood1949–1950[Anton Lehmden]Anton LehmdenTempera on woodPaintinghttps://sammlungtest.belvedere.at/objects/9175/rdf/internal/media/dispatcher/15413/fullWie Johanna sieht1948[Johanna Schidlo-Riedl]Johanna Schidlo-RiedlOil on canvasRückseite: LandschaftPaintinghttps://sammlungtest.belvedere.at/objects/6951/rdf/internal/media/dispatcher/50576/fullLesbia contra Motor1947[Curt Stenvert]Curt StenvertOil and gold leaf on wood Curt Stenvert ranks among the most important artists of the Viennese postwar avant-garde. The study of movement is a central trait of his oeuvre, leading him to branch out into photography and eventually into film. Created shortly after the war, the painting “Lesbia contra Motor” signals the dawn of a fresh start in art. In dismantling the human body into formal elements, Stenvert harks back to Cubism. The motif of the motor and its dynamic energy, meanwhile, quotes the Futurists. The result is an abstract dramatization of sexuality: a pair of women set before a red-and-black checkered backdrop is confronted by the male in the guise of an engine.Paintinghttps://sammlungtest.belvedere.at/objects/9078/rdf/internal/media/dispatcher/146063/fullSelf-Portrait with Blue Hat1936[Rudolf Hausner]Rudolf HausnerOil on hardboardPaintinghttps://sammlungtest.belvedere.at/objects/7153/rdf/internal/media/dispatcher/5242/fullAlexandra Gütersloh1934[Albert Paris Gütersloh]Albert Paris GüterslohOil on canvasThe three-dimensionality and rigorous structure of Albert Paris Gütersloh’s portrait of his daughter Alexandra is typical of the New Objectivity style that dominated the artist’s work in the 1930s. Having previously supported the Austrofascists, he applied for membership of the Nazi party in 1938. But instead of joining the party, he was refused admission. His art was labeled “degenerate” and he was dismissed as a professor at the School of Applied Arts. In 1945, after World War II, he was summoned to the Academy of Fine Arts and helped define the Austrian postwar movement known as the Vienna School of Fantastic Realism. He was also the first president of the Art Club initiated by Gustav Kurt Beck. Paintinghttps://sammlungtest.belvedere.at/objects/2083/rdf/internal/media/dispatcher/19150/fullStill Life with Jug and Orange1933[Albert Paris Gütersloh]Albert Paris GüterslohOil on canvasPaintinghttps://sammlungtest.belvedere.at/objects/2049/rdf