27/internal/media/dispatcher/4620/fullBife Tito2001[Marko Lulić]Marko LulićMDF, clear lacqueredObject arthttps://sammlungtest.belvedere.at/objects/10446/rdf/internal/media/dispatcher/16505/full[Garden Archive]1998-1999[Lois Weinberger]Lois WeinbergerWood, glass, diapositivesIn seiner langjährigen künstlerischen Auseinandersetzung mit dem Natur- und dem Zivilisationsraum lenkt Lois Weinberger den Blick auf Randzonen und stellt Fragen zu Hierarchien unterschiedlicher Art. Ruderalpflanzen, gemeinhin als Unkraut bezeichnet, dienen dem Künstler dabei als Ausgangs- und Orientierungspunkte für seine Arbeit. Das Projekt, aus dem sich das Gartenarchiv entwickelt hat, entstand in Weinbergers eigenem Garten, dem sogenannten „Gebiet“. An den Peripherien von Großstädten sammelte der Künstler Pflanzen und deren Samen. Diese pflanzte er im „Gebiet“ an, um das Vermehrte später wiederum in anderen möglichen Lebensräumen auszusäen. Aus mehreren Tausend Bildern, die in den elf Jahren der Arbeit am Projekt entstanden sind, wählte Weinberger Ansichten und Pflanzenporträts. 624 Diapositive geben in dem Leuchtkasten Einblick in eine wilde, idealisierte Naturlandschaft, die Werden und Gehen, Verschwinden und Überleben, Ausgrenzung und Akzeptanz thematisiert. — [5/2016, Michaela Köppl]Object arthttps://sammlungtest.belvedere.at/objects/10396/rdf/internal/media/dispatcher/10960/fullWoman of Colour1997[Elke Silvia Krystufek]Elke Silvia KrystufekAcrylic, dispersion on canvas Elke Silvia Krystufek brazenly exhibits her own body. Launching her career as an artist in the early 1990s, the artist cultivates an image as an enfant terrible. Wrestling with the twin urges of narcissism and voyeurism, her works feature her as an artificial character or share highly intimate glimpses of her private life with the public. In this act of painterly exposure, Krystufek seeks to recapture the female nude as a medium of self-determination. It lets her be all in one: both active observer and passive image. As the artist herself feasts our eyes on her naked body, she disrupts the male regime of the gaze.Paintinghttps://sammlungtest.belvedere.at/objects/10094/rdf/internal/media/dispatcher/82544/fullDouble Self-portrait with Camera1974[Maria Lassnig]Maria LassnigOil on canvas Self-examination in paintings is at the center of Maria Lassnig’s artistic exploration. In her body awareness painting she developed a visual language that revolves intensely around the relationship between how we perceive ourselves and how we are perceived by others. This iconic double self-portrait shows the artist depicted on the background canvas in a frontal standing pose, a confident filmmaker holding a camera. At the same time she appears in the foreground—pensive, introspective, seated. In her work she addresses with searing concentration representation, mediality, but also the emancipated gaze. Lassnig’s oeuvre of paintings and films, which was late in receiving due recognition, places her among the greatest Austrian artists from the second half of the 20th century.Paintinghttps://sammlungtest.belvedere.at/objects/9319/rdf/internal/media/dispatcher/10968/fullCherub1955[Max Weiler]Max WeilerOil on canvasPaintinghttps://sammlungtest.belvedere.at/objects/3576/rdf/internal/media/dispatcher/128006/full224 The Large Path1955[Friedensreich Hundertwasser]Friedensreich HundertwasserSynthetic resin on canvasLuminous red and luminous blue. The two colors form a spiral, painted by hand, with contours that are deliberately left open. The abstract form of the spiral is the central motif in the oeuvre of Friedensreich Hundertwasser. Like the meditative raked grooves in a Japanese Zen garden, it is a symbolic representation of life, of its organic growth and eventual passing over into the infinite that is death. The artist received seminal impulses for the idea of a dynamic conception of the world from the works of Lao Tzu and Buddhist and Taoist writings. A painter, architect, and environmental activist, Hundertwasser was far ahead of his time in his engagement with the “green” concerns to which his work owes its unfading relevance.Paintinghttps://sammlungtest.belvedere.at/objects/4246/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/92753/fullComposition I1955–1956[Hans Bischoffshausen]Hans BischoffshausenOil on canvasPaintinghttps://sammlungtest.belvedere.at/objects/9485/rdf/internal/media/dispatcher/162472/fullLarge Seated Figure ("Human Cathedral")1949[Fritz Wotruba]Fritz WotrubaMannersdorf limestone Fritz Wotruba kehrt im Dezember 1945 nach sieben Jahren Exil in der Schweiz nach Wien zurück. Künstlerisch befindet sich der Bildhauer, der in der Folge eine zentrale Rolle für die österreichische wie die internationale Plastik der Nachkriegsmoderne einnehmen wird, zu dieser Zeit an einem Scheideweg. Er bricht mit der reduzierten Stilisierung der vergangenen Jahre und entwickelt ein neues Konzept für die Komposition der Figur. Dieses ist vom französischen Kubismus angeregt. Es zeigt jedoch ein eigenständiges Gestaltungsprinzip, das eine Abstrahierung und Tektonisierung, also eine Art flächige Gliederung, verfolgt, aber an der Ausgangsform der menschlichen Figur festhält. Die sichtbaren Bearbeitungsspuren lassen die Oberfläche der streng frontalen monumentalen Gestaltung felsig erscheinen und betonen die Materialität des Steins. Sculpturehttps://sammlungtest.belvedere.at/objects/3524/rdf/internal/media/dispatcher/6064/fullDominican V1948[Herbert Boeckl]Herbert BoecklOil on canvasPaintinghttps://sammlungtest.belvedere.at/objects/3567/rdf/internal/media/dispatcher/117817/fullGuard1938[Greta Freist]Greta FreistOil on canvasAfter studying at the Vienna academy, Greta Freist shared a studio in Döbling with her colleague and partner Gottfried Goebel and the writer Heimito von Doderer, which became a meeting place for artists and writers. In 1936 she emigrated with Goebel to Paris. Within her œuvre, which featured many changes in style, the magically tinged realism of these years stands out in particular, demonstrating her intensive exploration of Surrealism. In the 1938 painting The Guard, the artist imagines a moonlit underwater scene that may be interpreted as a comment on the widespread ignorance about the political upheavals of the time. Paintinghttps://sammlungtest.belvedere.at/objects/5241/rdf/internal/media/dispatcher/10975/fullSelf-Portrait with Wife1934[Franz Lerch]Franz LerchOil on canvasPaintinghttps://sammlungtest.belvedere.at/objects/4833/rdf/internal/media/dispatcher/4909/fullThe Artist's Family1928[Anton Kolig]Anton KoligOil on canvasPaintinghttps://sammlungtest.belvedere.at/objects/8690/rdf/internal/media/dispatcher/92874/fullThe Philharmonic1926–1952[Maximilian Oppenheimer]Maximilian OppenheimerOil and tempera on canvas, mounted on wood Developing on an earlier version, in 1926 Max Oppenheimer started working in Vienna on his life’s masterpiece originally called The Concert. It was a painting of the orchestra conducted by Gustav Mahler. He combined both group and individual portraits and atmospherically translated the effects of music into painting. In 1938 Oppenheimer showed the triptych in Zurich. From there he had to flee to New York to escape Nazism. The wood panels followed him by ship in 1939 and thereafter were exhibited in America on many occasions, including at the San Francisco World’s Fair. The artist repeatedly reworked the painting. It was his wish to show The Philharmonic in Vienna. In 1954, this return to Vienna was about to happen, but Oppenheimer died shortly before his departure. The work was bought by the Republic of Austria that same year. Paintinghttps://sammlungtest.belvedere.at/objects/9293/rdf/internal/media/dispatcher/134475/fullSelf-Portrait with Comb1926[Marie-Louise von Motesiczky]Marie-Louise von MotesiczkyOil on canvasAfter the early death of her father, Marie-Louise von Motesiczky grew up in the sheltered environment of the Jewish banking family of her mother Henriette von Lieben. She left school at the age of thirteen to take private drawing tuition. From 1927 she studied at the Städelschule in Frankfurt under Max Beckmann, who shaped her style and was to remain a lifelong friend and influence. After Austria’s annexation to Nazi Germany she fled via the Netherlands to London. In exile she was in close contact with other émigré artists, including Oskar Kokoschka and Elias Canetti. As an artist of independent means, she lived for the rest of her life in Britain. Her works were first exhibited in Vienna at the Secession in 1966. Paintinghttps://sammlungtest.belvedere.at/objects/9808/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/10964/fullStill Life with Peaches1918[Helene Funke]Helene FunkeOil on canvasPaintinghttps://sammlungtest.belvedere.at/objects/3081/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/160537/fullAdam and Eve1916 - 1918[Gustav Klimt, Sonja Knips, Galerie Gustav Nebehay, 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/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/4839/fullFred Goldman (Child with Parents Hands)1909[Oskar Kokoschka]Oskar KokoschkaOil on canvasOskar Kokoschka painted a portrait in 1909 of the six-month-old son of Leopold and Lillie Goldman, whom he had met through Adolf Loos. At the time, Loos was building the iconic and controversial “house without eyebrows” opposite the Vienna Hofburg for the men’s outfitters Goldman & Salatsch. Fervent supporters of Viennese Modernism at the time, members of the Goldman family were later murdered in the Shoah. Kokoschka himself became an early target of the Nazi cultural policy. He emigrated to Prague in 1934 and on to London in 1938, where he settled once again in exile. In 1951 he moved to Switzerland and for the rest of his life never returned for any length of time to Austria. Paintinghttps://sammlungtest.belvedere.at/objects/4299/rdf/internal/media/dispatcher/140353/fullThe Kiss (Lovers)1908 (finished 1909)[Gustav Klimt, Ministerium für Kultus und Unterricht, Moderne Galerie, Wien]Gustav KlimtFigures: gold leaf, silver leaf, platinum leaf, resin oil colors on primed canvas (zinc paint). – Background: Composition gold (brass), glazed, flakes of metal leaf “The Kiss”, probably Klimt’s most famous work, was painted at the height of his Golden Period without a direct commission. It shows a couple, melting into one, at the edge of a meadow of flowers. Only the different patterning of the robes distinguishes their bodies that are enveloped in a shimmering golden halo. Klimt actually used real gold leaf, silver, and platinum in his picture. He presumably started work on it in 1907 and exhibited the painting at the Kunstschau in June the following year under the title “Lovers”. From this show, the Ministry of Art purchased it for the Modern Gallery—now the Belvedere—for a price that was high even then. In autumn 1909, a catalogue of this museum cited the work for the first time as “The Kiss”, the title by which it is world famous today.Paintinghttps://sammlungtest.belvedere.at/objects/6678/rdf/internal/media/dispatcher/118781/fullFritza Riedler1906[Gustav Klimt, Fritza Riedler, Aloys Riedler, Emilie Barbara Langer, Österreichische Galerie]Gustav KlimtOil on canvas Dignified, reserved, and majestic, Fritza Riedler (1860–1927), the wife of a wealthy mechanical engineer, sits in a chair as if enthroned. The delicate features of her pale face stand in striking contrast to her dark hair. There is not a flicker of expression on her face, not the slightest stirring to provide a glimpse of the sitter’s inner self. Gustav Klimt combines the naturalistic depiction of his model with a background dissolved into ornamentation. Even the chair is transformed into an ornament composed of wavy lines and ancient Egyptian eye motifs. This interplay between depth and an emphasis on the picture plane characterizes Klimt’s work from his so-called Golden Period. Paintinghttps://sammlungtest.belvedere.at/objects/2177/rdf/internal/media/dispatcher/83180/fullJudith1901[Gustav Klimt, Berthe Hodler, Anton Loew, Sophie Loew-Unger, Österreichische Galerie]Gustav KlimtOil and gold leaf on canvas The biblical story of the brave Judith has often been depicted in art. Judith, a chaste widow, gets the enemy commander Holofernes drunk with divine help, and then beheads him to free her people. Gustav Klimt interprets the Old Testament heroine as an erotic femme fatale. She gazes seductively at the viewer through half-closed eyes, her lips slightly parted. Only on closer inspection do we see the decapitated head of Holofernes. Judith holds it almost tenderly, as if to push it out of the picture. In Klimt’s painting there is no room for the male aggressor. He has transformed the biblical story of resistance in a political conflict into a battle of the sexes, and Judith’s triumph into a dangerously tantalizing icon of femininity.Paintinghttps://sammlungtest.belvedere.at/objects/3492/rdf/internal/media/dispatcher/118782/fullSonja Knips1897/1898[Gustav Klimt, Sonja Knips, Österreichische Galerie]Gustav KlimtOil on canvas Calm and confident, Sonja Knips gazes back at us. A baroness by birth, she was one of Gustav Klimt’s most prominent patrons. The artist subtly composed her portrait with great sensitivity, alternating between hazy evocation and precision: Sonja Knips’s face is rendered naturalistically, while her sumptuous tulle gown dissolves in a cascade of soft brushstrokes. Leaning slightly forward, she sits on the edge of an armchair ready to rise at any moment. A red sketchbook in her right hand adds an accent of bright color. This is the first portrait that Klimt painted in a square format. It also marks the start of his rise to become one of the most sought-after portraitists of Viennese society.Paintinghttps://sammlungtest.belvedere.at/objects/3197/rdf/internal/media/dispatcher/3798/fullEin Rabbiner von Oberungarnundated[Isidor Kaufmann]Isidor KaufmannOil on woodPaintinghttps://sammlungtest.belvedere.at/objects/4281/rdf