6/internal/media/dispatcher/15769/fullAndreas Urteil1961–1962[Alfred Czerny]Alfred CzernyBronzeSculpturehttps://sammlungtest.belvedere.at/objects/9051/rdf/internal/media/dispatcher/29518/fullGrüne Figur1961[Josef Mikl]Josef MiklOil on canvasPaintinghttps://sammlungtest.belvedere.at/objects/22843/rdf/internal/media/dispatcher/5866/fullFear (Standing Figure with Arms Upraised)1958[Andreas Urteil]Andreas UrteilBronzeSculpturehttps://sammlungtest.belvedere.at/objects/9472/rdf/internal/media/dispatcher/15734/fullKleine liegende Figur1951[Fritz Wotruba]Fritz WotrubaBronzeSculpturehttps://sammlungtest.belvedere.at/objects/4234/rdf/internal/media/dispatcher/146176/fullHeadca 1954[Maria Lassnig]Maria LassnigOil on canvasDuring several visits to Paris, Maria Lassnig explored Surrealism and non-figurative painting. In view of the danger of “degenerating into sterile abstraction,” as she put it, however, on her return to Vienna in 1954 she sought a middle way between figuration and abstraction. Dispensing with physiognomic details such as nose, eyes, and mouth, in this painting she deconstructs a head into planar components—“cheek plates, forehead plates, neck cylinders.” Despite what appears at first sight to be a formal abstraction, the way of focusing and reduction are clear references to Lassnig’s “body awareness painting.” Paintinghttps://sammlungtest.belvedere.at/objects/9211/rdf/internal/media/dispatcher/16990/fullDer imaginäre Reiter (Don Quichote)undated[Andreas Urteil]Andreas UrteilBronzeSculpturehttps://sammlungtest.belvedere.at/objects/9233/rdf