62/internal/media/dispatcher/12761/fullLuis Trenker with Camera1938[Sergius Pauser]Sergius PauserMixed media on hardboard The portrait of the mountaineer, actor, and director Luis Trenker (1892–1990) amidst a snow-covered landscape seems almost photorealistic. Trenker’s cinematic portrayals of his Alpine homeland were idealized and were promoted and used by the Nazi regime. This portrait by Sergius Pauser was shown in Berlin in 1939 as part of the exhibition Mountains, People, and Economy of the Ostmark and was later acquired by the Reich Ministry for Popular Enlightenment and Propaganda. After an Expressionist phase in the 1920s, Pauser devoted himself to the style of New Objectivity. The Vienna Academy appointed him a professor in 1943, but by the fall of 1944, he was classified as “politically unreliable.” Paintinghttps://sammlungtest.belvedere.at/objects/9005/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/102536/fullStill Life with Two Heads1932[Rudolf Wacker]Rudolf WackerOil on woodWacker has arranged four items for this still life: a bird suspended by a barely visible string, a child’s drawing on the wall, and, further down, on the table, a wig head and a vase containing a single flower. Each of the objects exists by itself, and yet their placement relative to one another suggests subtle interconnections between them. Wacker was concerned with the “world of the visible.” An exponent of the New Objectivity, he sought to show things as they are. His pictures exude an air of cool dispassion—of “objectivity”—yet they are also quite affecting. The wig head, in particular, makes for a piteous sight. The Berlin-based sculptor Lily Gräf, in 1934, found its flayed “skin” and splintered nose more than she could bear.Paintinghttps://sammlungtest.belvedere.at/objects/2084/rdf/internal/media/dispatcher/12792/fullThe Actor Emil Jannings1932[Maximilian Oppenheimer]Maximilian OppenheimerOil on canvasPaintinghttps://sammlungtest.belvedere.at/objects/4619/rdf/internal/media/dispatcher/84476/fullBalloon Seller1931[Otto Rudolf Schatz]Otto Rudolf SchatzOil on canvas Otto Rudolf Schatz returned from World War I as a committed pacifist. In his subsequent works, the artist critically commented on the misery, loneliness, and crime in the big city. This motif of the cool and melancholy Balloon Seller thus calls to mind the seedy side of the Prater amusement park in Vienna. The fact that the buyer is not visible makes space for sinister associations. In 1938 Schatz was banned from producing and exhibiting art and went underground in Prague over the ensuing years. He was arrested in 1944 and deported to different labor camps and to Gräditz concentration camp. After World War II, Schatz returned to Vienna and documented the rebuilding and recovery of the city in his paintings.Paintinghttps://sammlungtest.belvedere.at/objects/1622/rdf/internal/media/dispatcher/51812/fullHans Tietze1931[Georg Ehrlich]Georg EhrlichBronzeSculpturehttps://sammlungtest.belvedere.at/objects/5066/rdf/internal/media/dispatcher/70797/fullGrete Wiesenthal1929[Josef Humplik]Josef HumplikTerracottaSculpturehttps://sammlungtest.belvedere.at/objects/1970/rdf/internal/media/dispatcher/5352/fullGirl with Hat1929[Franz Lerch]Franz LerchOil on canvasPaintinghttps://sammlungtest.belvedere.at/objects/4825/rdf/internal/media/dispatcher/10555/fullHouses in the Landscape1927[Franz Lerch]Franz LerchOil on canvasPaintinghttps://sammlungtest.belvedere.at/objects/4913/rdf/internal/media/dispatcher/19783/fullInn on the Edge of Town1927[Viktor Planckh]Viktor PlanckhOil on canvasPaintinghttps://sammlungtest.belvedere.at/objects/9567/rdf/internal/media/dispatcher/139296/fullStill Life1926[Herbert Ploberger]Herbert PlobergerOil on canvas Austrian painter Herbert Ploberger has staged a large number of objects in this interior space dominated by light and shadow. A fruit still life with a pineapple and lemons is positioned on a chair. A lush bouquet of flowers in a vase radiates from the right edge of the picture. Opened wine bottles, a half-filled glass, an open newspaper, and the washbasin mark the absence of one or more people in this sober, tidy-looking composition. Ploberger worked primarily as a stage and costume designer. This picture, done in the New Objectivity style, is also reminiscent of a theater stage, where things seem frozen in silent dialogue. Paintinghttps://sammlungtest.belvedere.at/objects/4839/rdf/internal/media/dispatcher/28399/fullMargarete Stonborough-Wittgenstein1925[Anton Hanak]Anton HanakMarbleSculpturehttps://sammlungtest.belvedere.at/objects/1413/rdf/internal/media/dispatcher/5432/fullGirl with Foliage Plant1923[Karl Hofer]Karl HoferOil on canvasPaintinghttps://sammlungtest.belvedere.at/objects/8301/rdf/internal/media/dispatcher/164892/fullAbstract Composition1923/1924[Erika Giovanna Klien]Erika Giovanna KlienOil on canvas on cardboardPaintinghttps://sammlungtest.belvedere.at/objects/4838/rdf/internal/media/dispatcher/5973/fullSelf-Portrait in Paris1923[Herbert Boeckl]Herbert BoecklOil on canvasPaintinghttps://sammlungtest.belvedere.at/objects/8243/rdf/internal/media/dispatcher/9452/fullJoachim Ringelnatz1923[Renée Sintenis]Renée SintenisStuccoSculpturehttps://sammlungtest.belvedere.at/objects/8260/rdf/internal/media/dispatcher/50593/fullRear Tenements in Berlin1922[Herbert Boeckl]Herbert BoecklOil on canvasTitel in den Erwebungsakten 1922: Altberliner HäuserPaintinghttps://sammlungtest.belvedere.at/objects/8156/rdf/internal/media/dispatcher/17647/fullSelf-Portrait1922[Albert Birkle]Albert BirkleOil on canvasPaintinghttps://sammlungtest.belvedere.at/objects/9077/rdf/internal/media/dispatcher/7656/fullAlfred Flechtheim1921[Hermann Haller]Hermann HallerTerracotta auf lackiertem HolzsockelAlfred Flechtheim (1878–1937) war Kunsthändler.Sculpturehttps://sammlungtest.belvedere.at/objects/8261/rdf/internal/media/dispatcher/108229/fullKneeling Narcissus1920[Anton Kolig]Anton KoligOil on canvasPaintinghttps://sammlungtest.belvedere.at/objects/3352/rdf/internal/media/dispatcher/17960/fullDenomination1920[Fritz Schwarz-Waldegg]Fritz Schwarz-WaldeggOil on canvasPaintinghttps://sammlungtest.belvedere.at/objects/4159/rdf/internal/media/dispatcher/7385/fullNight Wanderer1920[Carry Hauser]Carry HauserOil on woodDas Gemälde ist ein Hauptwerk von Carry Hauser und künstlerischer Ausdruck der Aufbruchstimmung nach dem Ersten Weltkrieg. Der "Nächtliche Wanderer" erscheint als zentrale Figur im Stadtraum. Die Dynamik der Gestalt in Bewegung erfasst anhand des kubistischen Stilvokabulars den gesamten Bildraum. Wie von innen strahlend verkörpert sie auch das Bildlicht, indem sie wie die Laterne dahinter die nächtliche Gegend zu erleuchten scheint. Die Figur des Wanderers ist ein Selbstbildnis und auch die beiden Figuren hinter ihr sind autobiografisch zu deuten. Das Gemälde war in der Freien Bewegung in Wien ausgestellt und wurde 1921 im Rahmen der Wanderausstellungen der Künstlervereinigung in ganz Deutschland gezeigt. — [Cornelia Cabuk 2018]Paintinghttps://sammlungtest.belvedere.at/objects/4681/rdf/internal/media/dispatcher/5882/fullBecoming and Fadingc. 1920[Broncia Koller-Pinell]Broncia Koller-PinellOil on canvasPaintinghttps://sammlungtest.belvedere.at/objects/10542/rdf/internal/media/dispatcher/12758/fullCowshed1919[Ludwig Heinrich Jungnickel]Ludwig Heinrich JungnickelOil on canvasPaintinghttps://sammlungtest.belvedere.at/objects/8647/rdf/internal/media/dispatcher/107809/fullGeneral Gottfried Seibt von Ringenhart1918[Anton Kolig]Anton KoligOil on woodGeneral Gottfried Seibt von Ringenhart (1857-1937), seit 1914 als General der Infanterie im Ruhestand, leitete während des Ersten Weltkriegs verschiedene Unternehmungen der Kriegsfürsorge. Ab 1917 war er Vorstand des Kriegsfürsorgeamtes.Paintinghttps://sammlungtest.belvedere.at/objects/2138/rdf/internal/media/dispatcher/128260/fullJohanna Staude1917/1918[Gustav Klimt, Johanna Staude]Gustav KlimtOil on canvas Johanna Staude gazes back at us with shining blue eyes. Gustav Klimt shows the young woman against an orange-red background with a fashionable hairstyle and wearing a dress with a striking pattern. It is named after a Wiener Werkstätte fabric called „Blätter“ (Leaves) and was designed by Martha Albers, a graduate from the Vienna School of Applied Arts. Wrapped around the sitter’s throat is a feather boa that draws our attention to her face. This serene and simple composition was one of Klimt’s last female portraits. The painter was a friend of Johanna Staude and she probably modeled for him on repeated occasions. Address directories document that she was also a language teacher and artist.Paintinghttps://sammlungtest.belvedere.at/objects/4302/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/12685/fullStanding Youthc. 1915[Koloman Moser]Koloman MoserOil on canvasZu diesem Gemälde existiert eine gerasterte Figurenstudie (Sotheby’s London, Vienna 1900, 23.9.1993, Nr. 173). Das Gemälde wurde in Fälschungsabsicht mit dem Namen Ferdinand Hodlers versehen und gleichzeitig die Lesbarkeit des Nachlassstempels reduziert.Paintinghttps://sammlungtest.belvedere.at/objects/1414/rdf/internal/media/dispatcher/28677/fullWinter mood1914[Emil Orlik]Emil OrlikOil on canvasPaintinghttps://sammlungtest.belvedere.at/objects/15903/rdf/internal/media/dispatcher/12717/fullLady in a White Blouse (The Artist’s First Wife)1913[Anton Faistauer]Anton FaistauerOil on canvasPaintinghttps://sammlungtest.belvedere.at/objects/2569/rdf/internal/media/dispatcher/128256/fullThe Painter Carl Moll1913[Oskar Kokoschka]Oskar KokoschkaOil on canvasCarl Moll (1861–1945) was fifty-two when Kokoschka painted this portrait. He looks relaxed sitting in his chair with an alert and interested gaze. Although his pose is calm, the lively brushwork gives him an energetic quality. The easel on the left alludes to Moll’s profession while his elegant suit reflects a successful career. As a painter and organizer of exhibitions, Moll features prominently in the “Who’s Who” of fin-de-siècle Vienna. In 1897 he co-founded the Vienna Secession. One year before painting this portrait, Kokoschka had met Moll’s stepdaughter Alma Mahler. The artist fell madly and obsessively in love with her, a passion that also fueled a surge in creativity.Paintinghttps://sammlungtest.belvedere.at/objects/2803/rdf/internal/media/dispatcher/12719/fullVerschneite Berggipfel in der Dämmerung1913[Koloman Moser]Koloman MoserOil on canvasPaintinghttps://sammlungtest.belvedere.at/objects/2859/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/117816/fullDreams1913[Helene Funke]Helene FunkeOil on canvas As if waiting for some unknown event to happen, a group of young women are dozing and dreaming. The figures sleep, chat to each other, turn their backs on the viewer. On the central table, a wilting bunch of tulips alludes to the passage of time. What could they be dreaming about? Helene Funke had to surmount many obstacles to achieve her goal of becoming a painter. Since women were not allowed to attend academies, she studied at a private art school in Munich. Funke’s time in France provided her with a wealth of inspiration, the most prominent influence being Henri Matisse’s vibrant colors that are echoed in this painting. Paintinghttps://sammlungtest.belvedere.at/objects/4971/rdf/internal/media/dispatcher/47294/fullYoung Woman on a Red Couch1913[Anton Faistauer]Anton FaistauerOil on canvasPaintinghttps://sammlungtest.belvedere.at/objects/8296/rdf/internal/media/dispatcher/5253/fullThe Visitation1912[Oskar Kokoschka]Oskar KokoschkaOil on canvasDas Bild entstand im Vorfeld der "Großen Kunstausstellung" 1912 in Dresden, wo es zum ersten Mal präsentiert wurde. Carl Moll, der künstlerische Leiter der Galerie Miethke und Förderer Kokoschkas, hatte in seiner Funktion als Ausstellungskommissär das Werk in Auftrag gegeben. Wurde das Gemälde bei der Dresdener Schau noch als "Weiblicher Akt" tituliert, so tritt im Rahmen einer Ausstellung der Berliner Secession im Jahre 1916 bereits die Bezeichnung "Heimsuchung" auf, die auch Kokoschka später verwendete. Aus unmittelbarer Nähe betrachtet sitzt ein monumental aufgefasster weiblicher Akt in einer Landschaft, an deren Horizont ein kleines Dorf zu erkennen ist. Kokoschka platziert die weibliche Gestalt nun nicht mehr vor einem diffusen Hintergrund, wie es für seine frühen Porträts typisch war, sondern erschließt den Tiefenraum entlang einer diagonalen Bildachse. Die den Bildaufbau dominierende kristalline Struktur, die auf den Einfluss von Kubismus und Futurismus zurückzuführen ist, relativiert jedoch wieder den somit entstandenen räumlichen Eindruck. Obwohl sich die "Heimsuchung" dem Titel nach einer Gruppe von biblischen Darstellungen aus den Jahren 1911/12 zuordnen lässt, ist der direkte alttestamentarische Bezug im ikonographischen Sinn nicht augenscheinlich. Vielmehr erinnert der Bildtypus einer sitzenden Frau mit sinnend aufgestütztem Kopf an die Tradition der Melancholiedarstellungen, die auf einen Kupferstich Albrecht Dürers aus dem Jahr 1514 zurückgehen. Carl Moll vermachte die "Heimsuchung" testamentarisch der österreichischen Galerie. — [Harald Krejci, 4/2010]Paintinghttps://sammlungtest.belvedere.at/objects/2802/rdf/internal/media/dispatcher/5292/fullSelf-Portrait1912[Albert Paris Gütersloh]Albert Paris GüterslohOil on canvasPaintinghttps://sammlungtest.belvedere.at/objects/3355/rdf/internal/media/dispatcher/9228/fullMargrave Rüdiger von Bechelaren1912[Franz Metzner]Franz MetznerBronzeNachbildung der Hauptfigur des 1904 geplanten (nicht ausgeführten) Nibelungenbrunnens auf dem Platz vor der Wiener Votivkirche.Sculpturehttps://sammlungtest.belvedere.at/objects/4925/rdf/internal/media/dispatcher/17361/fullTilla Durieux IV1912[Ernst Barlach]Ernst BarlachPorcelainSculpturehttps://sammlungtest.belvedere.at/objects/7870/rdf/internal/media/dispatcher/12724/fullStill Life with Fruit on Green Cloth1911[Anton Faistauer]Anton FaistauerOil on canvasPaintinghttps://sammlungtest.belvedere.at/objects/3185/rdf/internal/media/dispatcher/5286/fullStill Life with Flask and Silver Bowl1910[Albert Paris Gütersloh]Albert Paris GüterslohOil on canvasPaintinghttps://sammlungtest.belvedere.at/objects/3143/rdf/internal/media/dispatcher/94300/fullEduard Kosmack1910[Egon Schiele]Egon SchieleOil on canvasThe sitter is like a hypnotist casting his spell over us. Beneath an extremely high forehead, his penetrating gaze hits us full on. Kosmack’s bony hands and the arms pressed close to his body emphasize his withdrawn character. All that interrupts the strict symmetry of the portrait is the sunflower on the right. The figure of the publisher contrasts powerfully with the light background, its flat, planar character still closely resembling the art of the Vienna Secession. Yet Schiele’s expressive style is already visible here: gestures, body language, and facial expressions are now the principal elements of his portraits. The body has been transformed into a vehicle of human emotions.Paintinghttps://sammlungtest.belvedere.at/objects/3456/rdf/internal/media/dispatcher/70795/fullBegräbnis des Wiener Bürgermeisters Dr. Karl Lueger1910[Oskar Laske]Oskar LaskeWatercolor, pencil on paperDrawing arthttps://sammlungtest.belvedere.at/objects/8180/rdf/internal/media/dispatcher/47428/fullThe Floodc. 1913[Ludwig Heinrich Jungnickel]Ludwig Heinrich JungnickelOil on canvasPaintinghttps://sammlungtest.belvedere.at/objects/3192/rdf/internal/media/dispatcher/15617/fullElsa Galafrés1908[Otto Friedrich]Otto FriedrichOil on canvasPaintinghttps://sammlungtest.belvedere.at/objects/6664/rdf/internal/media/dispatcher/52621/fullThe Dance1908[Franz Metzner]Franz MetznerMarbleSculpturehttps://sammlungtest.belvedere.at/objects/6680/rdf/internal/media/dispatcher/117829/fullThe Artist's Mother1907[Broncia Koller-Pinell]Broncia Koller-PinellOil on canvasPaintinghttps://sammlungtest.belvedere.at/objects/9231/rdf/internal/media/dispatcher/58170/fullPond Landscapec. 1912[Max Pechstein]Max PechsteinOil on canvasRückseite: Zwei AktePaintinghttps://sammlungtest.belvedere.at/objects/3129/rdf/internal/media/dispatcher/9036/fullGabrielle (Ella) Galliac. 1910[Otto Friedrich]Otto FriedrichOil on canvasGabrielle (Ella) Gallia war nicht verwandt mit der von Klimt porträtierten Hermine Gallia. Sie war die Tochter von Eduard Danzer, dem Gründer von "Danzer's Orpheum" und seit etwa 1893/94 mit Hugo Gallia, einem Beamten (Oberrevidenten) der Staatlichen Eisenbahngesellschaft und Besitzer mehrerer Zinshäuser in Wien Alsergrund verheiratet. Ein von Wolfgang G. Fischer publiziertes Foto aus der gleichen Zeit zeigt sie in einem Reformkleid der Schwestern Flöge.Paintinghttps://sammlungtest.belvedere.at/objects/10565/rdf/internal/media/dispatcher/128086/fullBluse der Wiener Werkstättec. 1910[Wiener Werkstätte, Martha Alber]Wiener WerkstätteSilkArts and craftshttps://sammlungtest.belvedere.at/objects/29857/rdf/internal/media/dispatcher/6829/fullGarden of the Edam Almshouse1904[Max Liebermann]Max LiebermannOil on canvasPaintinghttps://sammlungtest.belvedere.at/objects/6391/rdf/internal/media/dispatcher/15409/fullAt the Donaulände1903[Franz Jaschke]Franz JaschkeOil on canvasPaintinghttps://sammlungtest.belvedere.at/objects/6455/rdf/internal/media/dispatcher/29542/fullDonaulände in Summer1903[Franz Jaschke]Franz JaschkeOil on canvasPaintinghttps://sammlungtest.belvedere.at/objects/17103/rdf/internal/media/dispatcher/3770/fullMountain Path in the Beskids1902[Hugo Baar]Hugo BaarTempera on cardboardDrawing arthttps://sammlungtest.belvedere.at/objects/47/rdf/internal/media/dispatcher/70899/fullBirch Forest in Evening Lightc. 1902[Carl Moll]Carl MollOil on canvasDas Bild wurde höchstwahrscheinlich in der XIII. Secessionsausstellung als "Abend" gezeigt.Paintinghttps://sammlungtest.belvedere.at/objects/3798/rdf/internal/media/dispatcher/19063/fullButter Makers1902[Ferdinand Andri]Ferdinand AndriOil on canvasEine Studie in Öl auf Karton zeigt die Bäuerin am linken Bildrand als Einzelfigur (vgl. Inv.-Nr. 5872).Paintinghttps://sammlungtest.belvedere.at/objects/6190/rdf/internal/media/dispatcher/12130/fullIm Gartenrestaurant1893[Josef Engelhart]Josef EngelhartOil on woodPaintinghttps://sammlungtest.belvedere.at/objects/3963/rdf/internal/media/dispatcher/9313/fullDie Wienerinbefore 1905[Paul Joanowitsch]Paul JoanowitschOil on canvasPaintinghttps://sammlungtest.belvedere.at/objects/6471/rdf/internal/media/dispatcher/4913/fullThe Crook1888[Josef Engelhart]Josef EngelhartMixed media on paper on canvas The Pülcher is an antiquated term for crook, and in the Viennese dialect it refers to someone of questionable character. With this title, the Viennese painter Josef Engelhart shows a young man in front of a billboard with his hat pulled down on his face, his hands in his pockets, and his posture slumped. The man’s long apron indicates he has work. In this street snapshot, however, the sitter’s intentions stay concealed. That Engelhart chose the motif of a “Viennese guy” is surprising. Having trained in Paris, the artist is best known for his depictions of elegant theaters and cafés. Paintinghttps://sammlungtest.belvedere.at/objects/8812/rdf/internal/media/dispatcher/6106/fullCroatian Market on the "Haide" in Viennabefore 1898[Johann Nepomuk Geller]Johann Nepomuk GellerOil on hardboardDargestellt ist der "Markt im Werd", der heutige Karmelitermarkt im 2. Wiener Bezirk. Das Areal war auch lange Zeit unter dem Namen "Auf der baumlosen Haide" bekannt. Johann Nepomuk Geller, ein Gründungsmitglied des Hagenbundes, war auf Marktszenen spezialisiert.Paintinghttps://sammlungtest.belvedere.at/objects/6009/rdf/internal/media/dispatcher/4787/fullArrival of a Train at Vienna Northwestern Station1875[Karl Karger]Karl KargerOil on canvas Karl Karger’s picture of the Northwestern Station is the only known painting to document the interior of a Viennese station from that time. Six large stations were built in the rapidly expanding city during this period. Trains from the Northwestern Station went to the northern and eastern regions of the crownland of Bohemia as well as to Dresden and Berlin. The new railroad network enabled large-scale migration to the city resulting in a rapid increase in Vienna’s population. From Bohemia, for instance, people came to fill the great demand for brickyard laborers and housekeepers in the city. Karger captures such social differences in his crowd of people he depicts gathered in the station concourse. Paintinghttps://sammlungtest.belvedere.at/objects/2512/rdf/internal/media/dispatcher/5887/fullWatering Place on the March River1872[Eugen Jettel]Eugen JettelOil on woodDas Bild ist eine Studie zu einem größeren Gemälde, das sich heute im Museum der Stadt Liberec befindet.Paintinghttps://sammlungtest.belvedere.at/objects/4413/rdf