17/internal/media/dispatcher/134356/fullModel of the Secession during the Beethoven exhibition 19022011[Gerhard Stocker]Gerhard StockerBasswoodArchitecturehttps://sammlungtest.belvedere.at/objects/21980/rdf/internal/media/dispatcher/30724/fullModell der Kunstschau 1908 nach den Einreichplänen Josef Hoffmanns im Maßstab 1 : 502008[Josef Hoffmann, Gerhard Stocker]Josef HoffmannLimewoodObject arthttps://sammlungtest.belvedere.at/objects/18846/rdf/internal/media/dispatcher/114741/fullSunflower1907/1908[Gustav Klimt, Gustav Klimt, Richard Parzer]Gustav KlimtOil and gold leaf on canvas Gustav Klimt shows a single, majestic sunflower in the middle of this square composition that is entirely covered by a green hedge resembling a patterned tapestry. The head of the sunflower inclines slightly, while its leaves seem to protectively curl over the dense array of bright summer flowers at its base. Time and again Klimt’s sunflower has been seen to have human characteristics, its form reminiscent of the medieval Virgin of Mercy sheltering figures under her cloak. The famous art critic from the Vienna Secession Ludwig Hevesi described it as a “fairy in love.” Others have even seen the sunflower as a hidden portrait of the designer Emilie Flöge.Paintinghttps://sammlungtest.belvedere.at/objects/21865/rdf/internal/media/dispatcher/118781/fullFritza Riedler1906[Gustav Klimt]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/30231/fullAufriss Gartenfassade Palais Stoclet1906[Josef Hoffmann]Josef HoffmannPlandruck mit ergänzenden BleistiftskizzenDrawing arthttps://sammlungtest.belvedere.at/objects/23598/rdf/internal/media/dispatcher/30232/fullAufriss Eingangsseite Palais Stoclet1906[Josef Hoffmann]Josef HoffmannPlandruck mit ergänzenden BleistiftskizzenDrawing arthttps://sammlungtest.belvedere.at/objects/23599/rdf/internal/media/dispatcher/30229/fullGrundriss Erdgeschoss Palais Stoclet (groß)1906[Josef Hoffmann]Josef HoffmannPlandruck, Ergänzungen mit roter TinteDrawing arthttps://sammlungtest.belvedere.at/objects/23596/rdf/internal/media/dispatcher/30230/fullGrundriss Obergeschoss Palais Stoclet (Detail)1906[Josef Hoffmann]Josef HoffmannPlandruckDrawing arthttps://sammlungtest.belvedere.at/objects/23597/rdf/internal/media/dispatcher/30233/fullQuerschnitt Palais Stoclet mit Gartenanlage1906[Josef Hoffmann]Josef HoffmannPlandruckDrawing arthttps://sammlungtest.belvedere.at/objects/23600/rdf/internal/media/dispatcher/36554/fullGirlfriends (Water Serpents I)1904 (minor amendments in 1907)[Gustav Klimt, Gustav Klimt, Unbekannter Besitz]Gustav Klimt Watercolour, gouache, pencil, gold, silver, platinum and brass on parchment Klimt’s aquatic beings, described by the artist as “water serpents” or “water nymphs,” seem bewitchingly detached from the real world. In dreamy, flowing movements they float above the ocean floor in the midst of golden seaweed. A glimmering fish stares out at us with a fixed gaze from the lower right of the picture. Influenced by the Symbolist art movement, the artist used these aquatic creatures to symbolize a mystical realm. Klimt created this work on parchment at the height of his Golden Period.Paintinghttps://sammlungtest.belvedere.at/objects/3828/rdf/internal/media/dispatcher/3811/fullBeethoven Frieze: Longing for Happiness1901-1902[Gustav Klimt]Gustav KlimtKaseinfarben, Stuckauflagen, Zeichenstift, Applikationen aus verschiedenen Materialien (Glas, Perlmutt etc.), Goldauflagen auf Mörtel The Fourteenth Secession exhibition in 1902 was a Gesamtkunstwerk (total work of art) akin to a temple and was dedicated to Ludwig van Beethoven. Klimt created his Beethoven Frieze directly on the walls of the left side room. In this revolutionary work, the artist discarded any illusion of pictorial space. The human figure is no longer an individual but a symbolic bearer of meaning composed of lines and planes. Klimt’s pictorial program is based on Richard Wagner’s descriptive interpretation of Beethoven’s Ninth Symphony. It tells of humanity overcoming various perils in its quest for happiness. The subject of the final section in Klimt’s Beethoven Frieze is the coming together of humankind in the ideal realm of the arts.Paintinghttps://sammlungtest.belvedere.at/objects/4737/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/internal/media/dispatcher/118782/fullSonja Knips1897/1898[Gustav Klimt, Sonja Knips]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/4046/fullLady at the Fireplace1897/1898[Gustav Klimt, Editha und Hermann Bauch, Friedrich Stadler-Wolffersgrün, Unbekannter Besitz, Friedrich Viktor Stadler-Wolffersgrün]Gustav KlimtOil on canvas The fashionable young woman sitting by the fireplace is depicted by Gustav Klimt as lost in thought. The dim lighting blurs her silhouette, while the warm glow of the fire is only vaguely discernible. The sitter exudes cosmopolitan sophistication, and her dreamy demeanor is consistent with the melancholy portrayal of women prevalent at the time in literature. The circumstances surrounding the painting’s creation remain unknown. However, anonymous portraits of women were a common theme in Klimt’s work. In this work, rather than characterizing a specific individual, the artist sought to capture a particular perspective on life.Paintinghttps://sammlungtest.belvedere.at/objects/4185/rdf/internal/media/dispatcher/4824/fullHalf-figure of a Nymph (“Vivien”)1896[Fernand Khnopff]Fernand KhnopffPlaster, painted, on a gilded wooden baseIn the work of the Belgian Symbolist Fernand Khnopff we often encounter female figures and mystical hybrid creatures, swathed in an enigmatic and mysterious mood. Here we meet Vivien, a mythical enchantress from the legend of King Arthur. She stole the magical shell from the wizard Merlin and is shown holding it triumphantly in this sculpture. With half-closed eyes, seductively parted lips, and a mane of wavy red hair, the beautiful nymph is a true femme fatale. In fin-de-siècle Vienna, this type of “dangerous temptress,” who manipulated men with her erotic charms and often caused their downfall, was a popular subject in both art and literature.Sculpturehttps://sammlungtest.belvedere.at/objects/3225/rdf/internal/media/dispatcher/4863/fullCalm Water1894[Fernand Khnopff]Fernand KhnopffOil on canvas The pond is utterly still. Isolated trees line the green bank, yet the artist directs our gaze to the water and not to the treetops. We can only identify the surroundings from the reflection. Fernand Khnopff sought to visualize a world unexplored by humanity. As an exponent of Symbolism, the Belgian artist’s depictions of ponds and glades were intended to make a deeper reality visible. The water’s surface becomes a metaphor of the unfathomable human psyche: it reflects the image like a mirror, but it is impossible to see into the pond’s depths. Khnopff’s works were shown at the first exhibitions of the Vienna Secession. Their subliminal messages fascinated the group of artists around Gustav Klimt.Paintinghttps://sammlungtest.belvedere.at/objects/7541/rdf/internal/media/dispatcher/107384/fullPortrait of a Womanc. 1893/1894[Gustav Klimt]Gustav KlimtOil on canvas The young woman wearing a black evening gown was a close friend of the fashion designer Emilie Flöge, Gustav Klimt’s lifelong companion. For her portrait Klimt selected a vertical format that emphasizes the figure’s slim silhouette. Her porcelain complexion and her necklace are rendered with the same delicate precision as the tapestry on the wall. The artist worked in this highly realistic style in the years around 1890 in a way that reveals the influence of photography. He would also use photography to help compose his later paintings. It is Klimt’s first society portrait of a woman. After Hans Makart’s death, Klimt became the most sought-after portraitist of the Viennese upper classes.Paintinghttps://sammlungtest.belvedere.at/objects/21938/rdf