6/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/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/7376/fullErnst Koessler1911[Maximilian Oppenheimer]Maximilian OppenheimerOil on canvasPaintinghttps://sammlungtest.belvedere.at/objects/3852/rdf/internal/media/dispatcher/6549/fullPortrait of Manfred Osthaus as a Boy1911[Maximilian Oppenheimer]Maximilian OppenheimerOil on canvasPaintinghttps://sammlungtest.belvedere.at/objects/10557/rdf/internal/media/dispatcher/4830/fullThe Reiner Boy (Portrait of Herbert Reiner)1910[Egon Schiele]Egon SchieleOil on canvas In 1910 the renowned orthopedic specialist Max Reiner commissioned a portrait of his five-year-old son Herbert from the young painter Egon Schiele. The artist depicted him in front of a blank surface and wearing a red garment that envelops him like a loose cloak. There are no objects to indicate the child’s age. Rather, his strikingly coarse hands appear much older than the sitter himself and contrast with the boy’s radiant, innocent gaze. Schiele painted The Reiner Boy together with a series of portraits that are all in a square format and share similar compositions. Paintinghttps://sammlungtest.belvedere.at/objects/3521/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