110/internal/media/dispatcher/50579/fullThe Conquest of Outer Space Must Correspond with a Triumph over the Inner Man!1971[Curt Stenvert]Curt StenvertMixed media on metal, plasticObject arthttps://sammlungtest.belvedere.at/objects/9362/rdf/internal/media/dispatcher/9567/fullThe Great Magician1959[Kurt Regschek]Kurt RegschekOil on canvasPaintinghttps://sammlungtest.belvedere.at/objects/9249/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/50577/fullConstruction II1953[Josef Mikl]Josef MiklOil on hardboardPaintinghttps://sammlungtest.belvedere.at/objects/9208/rdf/internal/media/dispatcher/10578/fullTime1951[Oskar Laske]Oskar LaskeTempera on canvasPaintinghttps://sammlungtest.belvedere.at/objects/3377/rdf/internal/media/dispatcher/24353/fullRuth von Mayenburg1951[Rudolf Hausner]Rudolf HausnerTempera on hardboard Rudolf Hausner, a key figure of the Vienna School of Fantastic Realism, is renowned for his technique inspired by the painterly precision of the old masters. By applying several layers of translucent paint on top of each other, he created this portrait of the Austrian writer and translator Ruth von Mayenburg (1907–1993) against a backdrop of dark walls and a gloomy sky. Hausner may be alluding to Mayenburg’s espionage activities: she fled to the Soviet Union through Prague after taking part in the February Uprising in Vienna in 1934. During World War II, while in exile, she became a member of the then outlawed KPÖ (Communist Party of Austria) and worked for the Soviet Army. Upon returning to Austria in 1945, she resigned from the party and devoted herself to writing. Paintinghttps://sammlungtest.belvedere.at/objects/6977/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/124357/fullEl Velorio (The Wake)1946[Wolfgang Paalen]Wolfgang PaalenOil on canvasPaintinghttps://sammlungtest.belvedere.at/objects/9541/rdf/internal/media/dispatcher/22328/fullWallfahrt zum heiligen Seetier1946[Edgar Jené]Edgar JenéGouacheDrawing arthttps://sammlungtest.belvedere.at/objects/15008/rdf/internal/media/dispatcher/22332/fullLe glacier ardent1940[Edgar Jené]Edgar JenéGouacheDrawing arthttps://sammlungtest.belvedere.at/objects/15007/rdf/internal/media/dispatcher/114425/fullBelvedere1936[Edgar Jené]Edgar JenéDrawing arthttps://sammlungtest.belvedere.at/objects/15010/rdf/internal/media/dispatcher/144033/fullUntitledc. 1931[Wolfgang Paalen]Wolfgang PaalenOil on canvasPaintinghttps://sammlungtest.belvedere.at/objects/9540/rdf/internal/media/dispatcher/12707/fullMoonlit Night on the Banks of the Mur River in Graz1928[Wilhelm Thöny]Wilhelm ThönyOil on canvasDie hier gezeigte Stadtvedute steht exemplarisch für Thönys in Graz entstandenen Bilder aus der Mitte der 20er Jahre. Sie zeichnet sich zum großen Teil durch eine pastose, von Schwarztönen dominierte Farbgebung aus.Paintinghttps://sammlungtest.belvedere.at/objects/8623/rdf/internal/media/dispatcher/17620/fullDie vier Jahreszeiten: Herbst1928[Rudolf Jettmar]Rudolf JettmarOil on canvasPaintinghttps://sammlungtest.belvedere.at/objects/9522/rdf/internal/media/dispatcher/17621/fullDie vier Jahreszeiten: Sommer1928[Rudolf Jettmar]Rudolf JettmarOil on canvasPaintinghttps://sammlungtest.belvedere.at/objects/9523/rdf/internal/media/dispatcher/67114/fullWilted Sunflowers1926[Alois Hänisch]Alois HänischOil on canvasPaintinghttps://sammlungtest.belvedere.at/objects/2130/rdf/internal/media/dispatcher/24349/fullOrpheus Playing to the Animals1926[Oskar Laske]Oskar LaskeTempera on canvasPaintinghttps://sammlungtest.belvedere.at/objects/3360/rdf/internal/media/dispatcher/19080/fullAns Kreuz mit ihm!undated[Alexander Rothaug]Alexander RothaugOil on canvasPaintinghttps://sammlungtest.belvedere.at/objects/3556/rdf/internal/media/dispatcher/101960/fullOdysseus (Sehnsucht nach der Heimat)undated[Alexander Rothaug]Alexander RothaugOil on canvasHomerus: Odüssee übersezt von Johann Heinrich Voß. Hamburg, 1781. Fünfter Gesang, Verse 81–84: […] / „Aber nicht Oduͤßeus den herlichen fand er zu Hauſe; / Weinend ſaß er am Ufer des Meers. Dort ſaß er gewoͤhnlich, / Und zerquaͤlte ſein Herz mit Weinen und Seufzen und Jammern, / Und durchſchaute mit Thraͤnen die große Wuͤſte des Meeres.“ / […]Paintinghttps://sammlungtest.belvedere.at/objects/3557/rdf/internal/media/dispatcher/92818/fullRinaldo and Armida1923[Alfred Wickenburg]Alfred WickenburgOil on canvasThe subject of Alfred Wickenburg’s painting is a scene from the 1574 Italian epic poem Jerusalem Delivered in which the Saracen sorceress Armida falls in love with the Christian knight Rinaldo. The painter translates this encounter into a geometric, cubic visual language defined by diagonals and rhombuses, precise contours, and vibrant colors. The composition thus reveals strong similarities with Czech Cubism. Above all, it reflects Wickenburg’s exact knowledge of Adolf Hölzel’s theories and the particular significance of the Golden Section as a design principle. Paintinghttps://sammlungtest.belvedere.at/objects/9250/rdf/internal/media/dispatcher/50578/fullIn the Forest1920[Carry Hauser]Carry HauserOil on woodDie stark bewegte Figur eines Wanderers erscheint als zentrales Motiv des kleinformatigen Bildes. Sie bildet mit ihrer Umgebung eine formale Einheit, indem der gesamte Bildraum gleichermaßen von der Dynamik der kubo-futuristischen Formzerlegung erfasst ist. Wie für die tschechischen Kubisten ist eine existentielle und symbolische Deutung dieser Bildsprache im Werk von Carry Hauser entscheidend. Als ein Ausdruck der Gedankenwelt des Wanderers erscheint ein weiblicher Akt an seiner Seite angedeutet. — [Cornelia Cabuk, 3/2012]Paintinghttps://sammlungtest.belvedere.at/objects/9310/rdf/internal/media/dispatcher/15402/fullAngels1917[Wlastimil Hofman]Wlastimil HofmanTempera on cardboardPaintinghttps://sammlungtest.belvedere.at/objects/5236/rdf/internal/media/dispatcher/50850/fullThe Young Sphinx1916[Anton Hanak]Anton HanakMarbleSculpturehttps://sammlungtest.belvedere.at/objects/7867/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/12737/fullSelf-Portraitc. 1916[Koloman Moser]Koloman MoserOil on canvas, mounted on cardboardHis great talent was his versatility: painting and graphics, applied art, fashion, interior and set design—Koloman Moser was at home in all these disciplines. As a founder member of the Secession and the Wiener Werkstätte, he both paved the way and shaped the path of Viennese modernism. Moser portrays himself in a strictly frontal pose, his shirt open, his chest naked, his eyes wide. He has a visionary quality, almost Christlike with light encircling his head like a halo. The painting’s cool colors and the strictly symmetrical composition are also striking and were inspired by the work of his Swiss colleague Ferdinand Hodler.  Paintinghttps://sammlungtest.belvedere.at/objects/4320/rdf/internal/media/dispatcher/161668/fullView of Unter Sankt Veit1914[Felix Albrecht Harta]Felix Albrecht HartaOil on canvasPaintinghttps://sammlungtest.belvedere.at/objects/10112/rdf/internal/media/dispatcher/62944/fullYouth1913/1914[Franz Barwig der Ältere]Franz Barwig der ÄltereOak woodSculpturehttps://sammlungtest.belvedere.at/objects/765/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/74293/fullMonumental Study1912[Karl Sterrer]Karl SterrerChalk on paper on canvasDrawing arthttps://sammlungtest.belvedere.at/objects/520/rdf/internal/media/dispatcher/74295/fullMonumental Study1912[Karl Sterrer]Karl SterrerChalk on paperDrawing arthttps://sammlungtest.belvedere.at/objects/521/rdf/internal/media/dispatcher/17361/fullTilla Durieux IV1912[Ernst Barlach]Ernst BarlachPorcelainSculpturehttps://sammlungtest.belvedere.at/objects/7870/rdf/internal/media/dispatcher/88512/fullCassandra1911[Alexander Rothaug]Alexander RothaugTempera on woodPaintinghttps://sammlungtest.belvedere.at/objects/2839/rdf/internal/media/dispatcher/17044/fullMelpomene1911[Alexander Rothaug]Alexander RothaugOil on canvasPaintinghttps://sammlungtest.belvedere.at/objects/2840/rdf/internal/media/dispatcher/136030/fullThe Weapons of Mars1910[Lovis Corinth]Lovis CorinthOil on canvasDieses monumentale Werk ist ein eindrucksvolles Beispiel für Corinths provokativen Umgang mit der antiken Götterwelt wie auch mit biblischen Themen. In der Bildmitte posiert eine nackte Venus kokett mit einem leichten Tuch. Ein jugendlicher Geliebter, vermutlich Mars, hält ihr einen glänzenden Schild als Spiegel hin. Zwei Knaben und ein Mädchen – die Kinder von Venus und Mars? – spielen mit Helm und Schwert des Kriegsgottes. In Corinths eigenwilliger Interpretation des Motivs erscheinen die Götterfiguren allzu menschlich, überraschend ernst ist der Gesichtsausdruck der Kinder. Würdelos, wie auf einer Theaterbühne habe Corinth die Gottheiten inszeniert, wirft die zeitgenössische Kritik dem Maler vor.Paintinghttps://sammlungtest.belvedere.at/objects/2586/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/12786/fullMadonna1910[Wlastimil Hofman]Wlastimil HofmanOil on canvasPaintinghttps://sammlungtest.belvedere.at/objects/3545/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/13444/fullThe Outcast1909[Gustinus Ambrosi]Gustinus AmbrosiBronze on serpentine pedestalSculpturehttps://sammlungtest.belvedere.at/objects/11217/rdf/internal/media/dispatcher/50753/fullMedea1908[Hugo Kühnelt]Hugo KühneltMarbleDie Skulptur war bereits 1908 auf der 30. Ausstellung der Wiener Secession ausgestellt.Sculpturehttps://sammlungtest.belvedere.at/objects/295/rdf/internal/media/dispatcher/62956/fullBoy1908/1909[Franz Barwig der Ältere]Franz Barwig der ÄltereBronze, patinatedSculpturehttps://sammlungtest.belvedere.at/objects/3227/rdf/internal/media/dispatcher/19827/fullPine forest in winterc. 1907[Koloman Moser]Koloman MoserOil on canvasDie Inspiration zu diesem Gemälde stammt möglicherweise von einer japanischen Tuschemalerei aus der Sammlung Viktor Zuckerkandl. Die Tuschemalerei, die senkrechte Baumstämme auf hellem Grund zeigten, war im von Moser entworfenen Speisezimmer Zuckerkandls aufgehängt, wie aus einer Abbildung in der Zeitschrift Das Interieur (IV. Jg, 1903, S. 37) hervorgeht.Paintinghttps://sammlungtest.belvedere.at/objects/3427/rdf/internal/media/dispatcher/17057/fullAm Brunnen der Liebe1908[Hans Tichy]Hans TichyOil on canvasPaintinghttps://sammlungtest.belvedere.at/objects/6662/rdf/internal/media/dispatcher/52621/fullThe Dance1908[Franz Metzner]Franz MetznerMarbleSculpturehttps://sammlungtest.belvedere.at/objects/6680/rdf/internal/media/dispatcher/15410/fullSpring1907[August Roth]August RothOil on canvasPaintinghttps://sammlungtest.belvedere.at/objects/6572/rdf/internal/media/dispatcher/114741/fullSunflower1907/1908[Gustav Klimt, Gustav Klimt, Richard Parzer, Österreichische Galerie]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/25723/fullThe Scarecrow1906[Wlastimil Hofman]Wlastimil HofmanOil on canvasPaintinghttps://sammlungtest.belvedere.at/objects/6624/rdf/internal/media/dispatcher/50849/fullSphinx1906[Viktor Müller]Viktor MüllerOil on canvasPaintinghttps://sammlungtest.belvedere.at/objects/6673/rdf/internal/media/dispatcher/12856/fullMoonlit Night1906[Ernst Stöhr]Ernst StöhrOil on canvasPaintinghttps://sammlungtest.belvedere.at/objects/6704/rdf/internal/media/dispatcher/9275/fullPuberty1905[Jan Štursa]Jan ŠtursaBronzeDem damaligen Direktor der Österreichischen Galerie Haberditzl gelang es, den ersten Guß der Skulptur vom Künstler anzukaufen.Sculpturehttps://sammlungtest.belvedere.at/objects/933/rdf/internal/media/dispatcher/50752/fullLife Is Fleetingc. 1904/1910[Jan Štursa]Jan ŠtursaAlabasterSculpturehttps://sammlungtest.belvedere.at/objects/291/rdf/internal/media/dispatcher/51941/fullDachstein1904[Emil Orlik]Emil OrlikOil on canvasDas Bild zeigt eine Waldlandschaft des Salzkammerguts mit dem Dachsteingebirge. Eine vergleichbare Ansicht des Dachsteins zeigt zum Beispiel Ferdinand Georg Waldmüllers "Ansicht des Dachsteins mit dem Hallstätter See von der Hütteneckalpe bei Ischl" im Wien Museum. Orlik stellt den dunklen, runden Granitblöcken im Vordergrund die lichten Formen des Gebirgskamms gegenüber. Das runde, verwitterte und bemoste Granitgestein erscheinen als elementarer Kontrast zu den hellen, kristallinen Formen des schneebedeckten Hochgebirges. — [Markus Fellinger, 03/2013]Paintinghttps://sammlungtest.belvedere.at/objects/29110/rdf/internal/media/dispatcher/128261/fullAdolescentia1903[Elena Luksch-Makowsky]Elena Luksch-MakowskyOil on canvasAdolescence was a widely explored theme in art around 1900. In Adolescentia, a painting steeped in symbolism, Elena Luksch-Makowsky captured this fragile state on the threshold between childish play and awakening sexual interest: Slightly ungainly yet confident nonetheless, a larger-than-life girl is shown standing in a meadow covered with spring flowers. Some distance away, young, pubescent men visibly react to her presence. Born into a family of artists in St. Petersburg, the painter had moved to Vienna with her husband, the sculptor Richard Luksch. Here the artist worked in various media, creating both paintings and designs for sculptures. Paintinghttps://sammlungtest.belvedere.at/objects/4698/rdf/internal/media/dispatcher/12514/fullOrange Grove on the French Riviera1903[Broncia Koller-Pinell]Broncia Koller-PinellOil on canvasPaintinghttps://sammlungtest.belvedere.at/objects/4739/rdf/internal/media/dispatcher/19622/fullThe Artist's Wife1903[Carl Wollek]Carl WollekBronzeSculpturehttps://sammlungtest.belvedere.at/objects/6386/rdf/internal/media/dispatcher/50111/fullDownpour1907[Richard Teschner]Richard TeschnerOil on wood veneer panelRichard Teschner ist heute vor allem durch seine Marionettenschöpfungen bekannt, mit denen er internationale Anerkennung errang. Ihnen ging jedoch sein grafisches und malerisches Schaffen voraus, welches überwiegend in Prag entstand. Teschners Gemälde Platzregen nimmt ein Motiv aus der Erzählung „Der Puppenmaler“ von Oskar Wiener auf. Wiener zählte wie Paul Leppin, Hugo Steiner-Prag und Alexander Moissi zu Teschners Kreis von Kunst- und Literatenfreunden in Prag. In der Erzählung hat ein Puppenmaler einen Albtraum, in dem er von einem Riesenfrosch verfolgt wird. Teschner wandelt dieses Motiv in eine wabrige, anthropomorphe Gestalt, die mitten auf dem Prager Altstädter Ring einen Passanten mit Wasser überschüttet. Die unheimliche, geisterhafte Gestalt wirkt wie eine Vorwegnahme von Teschners späteren Figurinen. — [Alexander Klee, 4/2017]Paintinghttps://sammlungtest.belvedere.at/objects/3469/rdf/internal/media/dispatcher/105462/fullThe Ice Saintsbefore 1902[Karl Mediz]Karl MedizOil on canvasDie Matreier Heimatforscher Tobias Trost und Alexander Brugger identifizierten die in den Eismännern porträtierten Osttiroler Persönlichkeiten. Von links nach rechts: Alois Waldner (vulgo Lichtackerer), Georg Wolsegger (vulgo Birnbaumer, Postmeister und Bürgermeister), Hannes Raneburger (volgo Gonn), Johann Trager (vulgo Lackner auf Glanz). — [Markus Fellinger 08/2013]Paintinghttps://sammlungtest.belvedere.at/objects/6178/rdf/internal/media/dispatcher/19290/fullDie Königstochterbefore 1902[Eduard Veith]Eduard VeithOil on canvasPaintinghttps://sammlungtest.belvedere.at/objects/6248/rdf/internal/media/dispatcher/5366/fullSolitudec. 1902-1903[Karl Mediz]Karl MedizOil on canvasA tranquil dark lake, rocky shore, trees, and cirrus clouds against a blue summer sky define this large “landscape of the soul” by Karl Mediz. The seemingly naturalistic view depicts a small lake known as the Dead Sea on the island of Lokrum off the coast of Dubrovnik. Close-up we can detect almost impressionistic brushstrokes and dabs of paint evoking a shimmering overall effect. From a greater distance, however, it becomes apparent that the painter composed the image out of clearly delineated planes. These forms create the foundations of the pictorial composition. Paintinghttps://sammlungtest.belvedere.at/objects/6291/rdf/internal/media/dispatcher/23678/fullThe Dwarf and the Ladyca 1902/1903[Sigmund Walter Hampel]Sigmund Walter HampelOil on canvasPaintinghttps://sammlungtest.belvedere.at/objects/6295/rdf/internal/media/dispatcher/50754/fullLeichnam Christi1901[Eduard Adrian Dussek]Eduard Adrian DussekOil on canvasPaintinghttps://sammlungtest.belvedere.at/objects/895/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/49592/fullLandscape with Thunderstorm1901[Rudolf Jettmar]Rudolf JettmarWatercolor, pencil and pastel on paperDrawing arthttps://sammlungtest.belvedere.at/objects/6191/rdf/internal/media/dispatcher/117818/fullVer Sacrum1901[Elena Luksch-Makowsky]Elena Luksch-MakowskyOil on canvasElena Luksch-Makowsky painted this self-portrait soon after the birth of her son Peter. She solemnly presents her child, fading into the background shadows herself. It is the new generation that counts, as emphasized by the title: Ver Sacrum (sacred spring). This was the motto of the Secession and harked back to an ancient Roman tradition. In the “sacred spring” newborns were dedicated to the gods and would be sent to settle new land upon reaching adulthood. In this work, Luksch-Makowsky thus reflects the dawn of a new art as well as a new phase in her own life as a mother. Ver Sacrum was displayed in 1902 at the Secession’s 13th exhibition, which featured a number of works by Luksch-Makowsky. Paintinghttps://sammlungtest.belvedere.at/objects/7233/rdf/internal/media/dispatcher/32203/fullJapanese Garden1901-1902[Emil Orlik]Emil OrlikTempera and gilt bronze on paper (?), silkPaintinghttps://sammlungtest.belvedere.at/objects/26390/rdf/internal/media/dispatcher/4761/fullEmotion1900[Ferdinand Hodler]Ferdinand HodlerOil on canvas Barefoot, wearing a pale blue dress, a young woman stands gracefully in the middle of a landscape. She has raised her hands to her chest like a dancer while averting her face. The Swiss painter Ferdinand Hodler depicted his wife Berthe in this work. In an earlier presentation it was titled „Woman in a Flowery Meadow“. The later title „Emotion“ transformed the figure into the allegorical embodiment of a feeling. Hodler was an important exponent of Jugendstil and was also a member of the Vienna Secession. Many of his works — including this one — were shown at the 19th Secession exhibition in 1904. There it was acquired by the collector Carl Reininghaus, who sold the painting to what is now the Belvedere in 1918.Paintinghttps://sammlungtest.belvedere.at/objects/978/rdf/internal/media/dispatcher/5989/fullCrouching Woman1900-1901[Max Klinger]Max KlingerMarbleAls der deutsche Künstler Max Klinger um 1900 an dieser Marmorstatue arbeitet, ist er wahrscheinlich von der Skulptur Kauernde Aphrodite eines griechischen Bildhauers aus dem 3. Jahrhundert v. u. Z. inspiriert. Ähnlich wie das antike Vorbild nimmt auch Klingers Frauenfigur eine angestrengt wirkende Köperhaltung ein. Die Drehbewegungen des Körpers und der Arme sind dabei geradezu unnatürlich. Höchst ungewöhnlich und modern wirkt zudem die roh behauene steinerne Bodenplatte, auf der die Dargestellte balanciert. Klinger ist berühmt für seine virtuosen Skulpturen aus Marmor, schafft aber auch Metallplastiken und ist als Maler und Grafiker gleichermaßen höchst erfolgreich.Sculpturehttps://sammlungtest.belvedere.at/objects/1118/rdf/internal/media/dispatcher/12791/fullNymphs by a Fountainc. 1905[Eduard Veith]Eduard VeithOil on canvasPaintinghttps://sammlungtest.belvedere.at/objects/4596/rdf/internal/media/dispatcher/118587/fullTwilightbefore 1900[Carl Moll]Carl MollOil on canvasIm Jahr 1900 in der VII. Secessionsausstellung als "Dämmerung" gezeigt und im Ver Sacrum im Beitrag "Die Philosophie von Klimt und der Protest der Professoren" abgebildet.Paintinghttps://sammlungtest.belvedere.at/objects/4629/rdf/internal/media/dispatcher/10557/fullYoung Forest1900/1901[Ferdinand Andri]Ferdinand AndriWatercolor, tempera, opaque white on paperEntwurf für das Plakat zur 10. Ausstellung der Wiener Secession 1901.Drawing arthttps://sammlungtest.belvedere.at/objects/4995/rdf/internal/media/dispatcher/50804/fullMountain Lake1900[Rudolf Jettmar]Rudolf JettmarGouache on cardboardDrawing arthttps://sammlungtest.belvedere.at/objects/6127/rdf/internal/media/dispatcher/117842/fullStudy Headc. 1905[Susanne Renate Granitsch]Susanne Renate GranitschPastel on paper on canvasDrawing arthttps://sammlungtest.belvedere.at/objects/6495/rdf/internal/media/dispatcher/28659/fullAm Moorbach1900[Paul Schad-Rossa]Paul Schad-RossaPastel on cardboardDrawing arthttps://sammlungtest.belvedere.at/objects/20981/rdf/internal/media/dispatcher/50572/fullNymph and Satyrc. 1900[Georg Klimt]Georg KlimtCopper, RepousséSculpturehttps://sammlungtest.belvedere.at/objects/33380/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/50749/fullJudith with the Head of Holofernes1898[Hermann Hahn]Hermann HahnMarbleSculpturehttps://sammlungtest.belvedere.at/objects/6046/rdf/internal/media/dispatcher/92738/fullJune Roses1898[Margaret Macdonald Mackintosh]Margaret Macdonald MackintoshPencil and water-based color on paper Zarte Rosenranken umspielen die Gestalt einer jungen Frau. Mit geschlossenen Augen wendet sie sich vier nackten Kleinkindern zu, die sie neugierig mustern. Das Aquarell in zarten Grüntönen von Margaret Macdonald Mackintosh ist das erste Werk einer ausländischen Künstlerin, das 1903, im Gründungsjahr der Modernen Galerie, für die Sammlung angekauft wurde. Mit ihrer innovativen Bildsprache, die auf Tiefenraum zur Gänze verzichtet, beeinflusste die wichtige Vertreterin des schottischen Jugendstils Gustav Klimt und die Entwicklung der Wiener Flächen- und Linienkunst maßgeblich.Drawing arthttps://sammlungtest.belvedere.at/objects/6306/rdf/internal/media/dispatcher/50565/fullSouls at the River Acheron1898[Adolf Hirémy-Hirschl]Adolf Hirémy-HirschlOil on canvas The souls of the dead in human form have congregated on the banks of the Acheron. Accompanied by Hermes Psychopompos, the conveyor of souls, they restlessly wait to cross to the underworld. Approaching on the river, the barge of the ferryman Charon can already be seen. Adolf Hirémy-Hirschl depicted this story from Greek mythology with searing emotional intensity. The realistic representation of the naked, pale, partially veiled bodies is based on photographs. Despite the pathos of the composition, this heightens the nightmarish quality of the work. Following in the footsteps of Hans Makart, Hirémy-Hirschl emulated his grandiose “sensation pictures” while at the same time adhering here to the style of Dark Romanticism, the hallmarks of which are gloom, suffering, and death. Paintinghttps://sammlungtest.belvedere.at/objects/6707/rdf/internal/media/dispatcher/4794/fullThe Painter Paul Herrmann and the Physician Paul Contard1897[Edvard Munch]Edvard MunchOil on canvasPaintinghttps://sammlungtest.belvedere.at/objects/2632/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/21859/fullChrist on Olympus1897[Max Klinger]Max KlingerOil on canvasPaintinghttps://sammlungtest.belvedere.at/objects/6166/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/40440/fullMarc Anton auf dem Triumphwagenc. 1896-1898[Arthur Strasser]Arthur StrasserPlasterFür das Gipsmodell erhielt der Künstler 1896 die Große Goldene Medaille der Jahresausstellung des Wiener Künstlerhauses. Die Skulpturengruppe wurde in der Folge für die Weltausstellung 1900 in Paris in monumentalem Maßstab in Bronze gegossen. Die Bronzegruppe ist ebenfalls im Besitz des Belvedere (Inv.-Nr. 342) und ist heute dauerhaft neben dem Gebäude der Wiener Secession aufgestellt. — [Markus Fellinger, 4/2015]Sculpturehttps://sammlungtest.belvedere.at/objects/10010/rdf/internal/media/dispatcher/70911/fullPondc. 1900[Wilhelm Bernatzik]Wilhelm BernatzikOil on canvasPaintinghttps://sammlungtest.belvedere.at/objects/5238/rdf/internal/media/dispatcher/3814/fullThe Evil Mothers1894[Giovanni Segantini]Giovanni SegantiniOil on canvasA young woman is in the midst of an icy landscape. A child is suckling from her breast and she is entangled in the branches of a tree. Her head turned to the side, her back arched, the mother is struggling against the infant with all her might. In this barren mountain world, Giovanni Segantini is showing us the fate of women who surrender themselves to desire but refuse to accept motherhood. As punishment these mothers had to endure “the castigations of purgatory,” as the painter himself put it when referring to his moralizing image. The women had no choice other than to accept their fate and thus find redemption. In the background these reformed mothers can be seen dancing with their children toward the mountains.Paintinghttps://sammlungtest.belvedere.at/objects/6224/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/50855/fullIdyll (Male and Female Semi-nudes in the Landscape)1894/1895[Ludwig von Hofmann]Ludwig von HofmannOil on canvasPaintinghttps://sammlungtest.belvedere.at/objects/7778/rdf/internal/media/dispatcher/30547/fullCampagna di Roma. Tomb of Caecilia Metella1894[Rudolf Bacher]Rudolf BacherOil on canvasPaintinghttps://sammlungtest.belvedere.at/objects/25179/rdf/internal/media/dispatcher/4866/fullLargo (Sunset)c. 1898[Ludwig von Hofmann]Ludwig von HofmannOil on canvasPaintinghttps://sammlungtest.belvedere.at/objects/7694/rdf/internal/media/dispatcher/88515/fullLost1891[Franz von Stuck]Franz von StuckOil on canvasTogether with Max Klinger, Franz von Stuck was the most important exponent of Jugendstil in Germany. In his early career, he had worked on the magazine Jugend (meaning youth), which gave this new style its name. In 1892 he was a co-founder of the Munich Secession, the first progressive group of artists in German-speaking Europe committed to this new movement in art. Stuck became famous for his original interpretations of classical mythology. The painting Lost depicts a faun, a mythical creature who according to the Greek myths was at home in warm Mediterranean climes, but has here been cast into a barren, snow-covered region. Paintinghttps://sammlungtest.belvedere.at/objects/7739/rdf/internal/media/dispatcher/126962/fullPax1891[Emil Jakob Schindler]Emil Jakob SchindlerOil on canvas Emil Jakob Schindler chose a monumental format for his allegory about the transience of things. Surrounded by steep rock faces we see a lonely cemetery. Ancient cypresses rise up against the overcast sky, the gravestones are overgrown with plants. Life and decay meet in this image. It is only on closer scrutiny that we see a monk lighting a candle in front of a freshly dug grave. Schindler was inspired by the cemetery in Gravosa near Dubrovnik although the striking scene from nature and the majority of the architecture were imagined by the artist. In 1892 Schindler was awarded a gold medal at the Munich World’s Fair for this Symbolist painting. Paintinghttps://sammlungtest.belvedere.at/objects/8348/rdf/internal/media/dispatcher/50756/fullJungbrunnenc. 1895[Eduard Veith]Eduard VeithOil on canvasPaintinghttps://sammlungtest.belvedere.at/objects/32627/rdf/internal/media/dispatcher/128917/fullSea Idyll1887[Arnold Böcklin]Arnold BöcklinOil on woodThe merman has grabbed the seal firmly by the scruff of its neck. His child gawps in astonishment at the catch, while the mother only just keeps hold of a sleeping infant. Böcklin’s Sea Idyll can be interpreted as a bourgeois family, from whom the painter distances himself with subtle irony. Instead of a table, the family has gathered around a rock, while still assuming the classic gender roles: the man is the family’s breadwinner, the woman looks after the children. Yet this family is free from social norms and constraints. The nude merfolk move through their element, water, without shame, but also with no overt displays of eroticism.Paintinghttps://sammlungtest.belvedere.at/objects/6157/rdf/internal/media/dispatcher/50751/fullReleased1886[Rudolf Bacher]Rudolf BacherOil on canvasPaintinghttps://sammlungtest.belvedere.at/objects/5911/rdf/internal/media/dispatcher/50854/fullChrist and the Women1885[Alexander Demetrius Goltz]Alexander Demetrius GoltzOil on canvasPaintinghttps://sammlungtest.belvedere.at/objects/1832/rdf/internal/media/dispatcher/51186/fullThe Judgment of Paris1885-1887[Max Klinger]Max KlingerOil on canvas, framing in wood and plaster The goddesses Venus, Athena, and Hera approach the shepherd Paris without a hint of bashfulness. They present their bodies and gaze steadily at Paris and Hermes, the messenger of the gods. Hermes takes it all in his stride, pausing for a moment in a self-absorbed athletic pose. Paris, on the other hand, seems to recoil from such an obvious display of femininity—just like the male audience around 1900. Most men were left feeling “absolutely alien and uncomprehending” when faced with this painting, as the work’s first owner Alexander Hummel wrote, whereas it was genuinely admired by women. Klinger showed the goddesses exuding self-confidence rather than in lascivious poses. And confronted with so much self-assurance, the male world simply had to capitulate. Paintinghttps://sammlungtest.belvedere.at/objects/6167/rdf/internal/media/dispatcher/134815/fullBeethoven1885 (first version), 1902 (monumental version), 1907 (reduction)[Max Klinger]Max KlingerBronzeSculpturehttps://sammlungtest.belvedere.at/objects/35291/rdf/internal/media/dispatcher/7405/fullVision of Saint Bernhard1882[Wilhelm Bernatzik]Wilhelm BernatzikOil on canvasIm Hintergrund dargestellt ist der Kreuzgang von Stift Heiligenkreuz.Paintinghttps://sammlungtest.belvedere.at/objects/8504/rdf/internal/media/dispatcher/50535/fullSphinx1880/1894[Christian Behrens]Christian BehrensBronze, patinated dark brown, on coeval wooden pedestalSculpturehttps://sammlungtest.belvedere.at/objects/33801/rdf/internal/media/dispatcher/28837/fullAdagio1876[Gabriel von Max]Gabriel von MaxOil on canvasPaintinghttps://sammlungtest.belvedere.at/objects/3464/rdf