41/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/86210/fullMedicine1903/1904[Gustav Klimt, Graphische Lehr- und Versuchsanstalt]Graphische Lehr- und VersuchsanstaltPhotogravureDie Heliogravüre zeigt einen Zustand, der zwischen dem ersten Zustand 1901 und der letzten Überarbeitung 1907 liegt und entspricht weitestgehend dem Zustand während der Klimt-Ausstellung der Secession 1903. Da das Gegenstück, die Heliogravüre der "Philosophie" bereits im Juli1904 ausgestellt war, muss auch für die Heliogravüre der Medizin eine Entstehung vor diesem Zeitpunkt angenommen werden.Printhttps://sammlungtest.belvedere.at/objects/64100/rdf/internal/media/dispatcher/86211/fullPhilosophy1903/1904[Gustav Klimt, Graphische Lehr- und Versuchsanstalt]Graphische Lehr- und VersuchsanstaltPhotogravureDie Heliogravüre zeigt einen Zustand, der zwischen der ersten Fassung aus dem Jahr 1900 und der letzten Überarbeitung 1907 liegt. Er entspricht weitgehend dem Zustand während der Klimt-Ausstellung der Secession im Winter 1903/04. Gegenüber dieser Version sind nur geringfügige Änderungen am Kopf des "Wissens" festzustellen, sowie eine weibliche Aktfigur, die direkt oberhalb des Kopf des "Wissens" neu hinzugekommen ist. In der Photographischen Ausstellung 1904 im MAK Wien war diese Heliogravüre bereits ausgestellt, es kann deshalb von einer Entstehung der Aufnahme im Zuge der Klimt-Ausstellung 1903/04 ausgegangen werden.Printhttps://sammlungtest.belvedere.at/objects/64101/rdf/internal/media/dispatcher/5283/fullWoman in White1917/1918[Gustav Klimt, Hugo Koller, Österreichische Galerie, Gustav Klimt, Broncia Koller-Pinell, Galerie Welz, Wien]Gustav KlimtOil on canvas (unfinished) Lady in White is one of the unfinished paintings found in Gustav Klimt’s studio after his death. It is a good example of the painter’s approach in his late period: Klimt positioned his unknown model within the square canvas so as to form a diagonal that divides the picture space. This creates three sections in the composition, with the figure at the center, a light background on the left, and a dark surface opposite. While the visible brushwork is typical of Klimt’s late paintings, the pronounced flatness of the image is a characteristic of Viennese Jugendstil. Paintinghttps://sammlungtest.belvedere.at/objects/3080/rdf/internal/media/dispatcher/160537/fullAdam and Eve1916 - 1918[Gustav Klimt, Galerie Gustav Nebehay, Österreichische Galerie, Sonja Knips]Gustav KlimtOil on canvas (unfinished) Klimt rarely engaged with biblical subjects during his career. One of his last works, unfinished at his death, shows the first humans, Adam and Eve. He was not interested in the more traditional depiction of the Fall, however, instead focusing on the figure of Eve as the quintessential female. Adam has closed his eyes, intoxicated with love, as he tilts his head and nestles tenderly against Eve. But Eve is looking straight at us. The anemones on the ground are emblems of fertility; the leopard skin, meanwhile, was a symbol in ancient Greece of unbridled desire. In Klimt’s interpretation, then, it is Eve—and not the snake—who is the temptress.Paintinghttps://sammlungtest.belvedere.at/objects/3196/rdf/internal/media/dispatcher/70896/fullSchloss Kammer on Lake Attersee III1911/1912[Österreichische Galerie, Gustav Ucicky, Österreichische Galerie, Ferdinand und Adele Bloch-Bauer, Gustav Klimt, Erich Führer, Ingeborg Anna Ucicky, Ferdinand Bloch-Bauer]Gustav KlimtOil on canvas “Arrived safely, forgot my opera glasses—need them badly,” Klimt reported to his sister Hermine in 1915 from his vacation home on Lake Attersee. The artist’s need during his summer vacation for optical aids—a telescope as well as opera glasses—becomes apparent from this painting: the lakeside facade of Schloss Kammer. Klimt probably captured it on canvas from the opposite shore using a telescope. The zoom effect causes the trees, the low front wing, and the red roof of the main building behind to appear as if on a single plane. With its softly out-of-focus reflections, the lake portion also appears to be part of the resulting two-dimensional image.Paintinghttps://sammlungtest.belvedere.at/objects/3112/rdf/internal/media/dispatcher/109704/fullMother with Two Children (Family)1909/1910[Gustav Klimt, Gustav Klimt, Österreichische Galerie, Richard Parzer, Helene Mayer]Gustav KlimtOil on canvas Exhausted, the young mother has drifted off to sleep, cradling her two small children in her arms. The family is wrapped in a pile of dark blankets that keep them warm and seem to merge with the undefined space around them. Only their sleeping faces seem to shine through the darkness. Are the three sitting in a dark room, or outside, or even on the street? Gustav Klimt’s contemporaries recognized the subjects as a family living on the fringes of society. The choice of subject is unusual in Klimt’s oeuvre, as he never addressed poverty in any other painting. Nevertheless, the timeless theme of the painting seems to be one of tender maternal love.Paintinghttps://sammlungtest.belvedere.at/objects/27315/rdf/internal/media/dispatcher/12723/fullCountry House on the Waterfrontc. 1908[Koloman Moser]Koloman MoserOil on canvasPaintinghttps://sammlungtest.belvedere.at/objects/3173/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/15617/fullElsa Galafrés1908[Otto Friedrich]Otto FriedrichOil on canvasPaintinghttps://sammlungtest.belvedere.at/objects/6664/rdf/internal/media/dispatcher/153750/fullMira Bauer1907[Max Kurzweil]Max KurzweilOil and black chalk on canvasMira Bauer (1901–1944), verh. Gutmann, Schwester der Malerin Bettina Ehrlich-Bauer. Das Bildnis wurde zugleich mit seinem Gegenstück, dem Bildnis von Bettina Bauer, im Sommer 1907 in der Villa Bauer in Grado gemalt.Paintinghttps://sammlungtest.belvedere.at/objects/5196/rdf/internal/media/dispatcher/118781/fullFritza Riedler1906[Österreichische Galerie, Fritza Riedler, Emilie Barbara Langer, Aloys Riedler, 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/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/6069/fullView from Heiligenstadt to the Nussbergc. 1905[Carl Moll]Carl MollOil on canvasDas Motiv zeigt die Perspektive von der Hohen Warte auf den Nussberg und wurde mit großer Wahrscheinlichkeit bei der XVII. Secessionsausstellung als "Vorfrühling. Nussdorf“ ausgestellt.Paintinghttps://sammlungtest.belvedere.at/objects/4120/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/18817/fullJapanese Woman in a Room1902[Julius Victor Berger]Julius Victor BergerOil on canvasEine weitere, 1902 datierte Version in Wiener Privatbesitz. Dort ist das Mädchen mit einem roten Kimono bekleidet und hält in der linken Hand einen Zweig mit Kirschblüten. (abgebildet im Katalog "Verborgene Impressionen/Hidden Impressions", MAK Wien 1990, S. 165.) Es könnte sich um ein Bildnis der Sada Yacco handeln, die mit ihrer Schauspiel-Kompagnie 1902 in Wien ein vielbeachtetes Gastspiel feierte.Paintinghttps://sammlungtest.belvedere.at/objects/6284/rdf/internal/media/dispatcher/87115/fullStudio Interior1902[Julius Victor Berger]Julius Victor BergerOil on canvasPaintinghttps://sammlungtest.belvedere.at/objects/8500/rdf/internal/media/dispatcher/83180/fullJudith1901[Gustav Klimt, Berthe Hodler, Sophie Loew-Unger, Österreichische Galerie, Anton Loew]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/32203/fullJapanese Garden1901-1902[Emil Orlik]Emil OrlikTempera and gilt bronze on paper (?), silkPaintinghttps://sammlungtest.belvedere.at/objects/26390/rdf/internal/media/dispatcher/4119/fullOld Man on his Death-Bed1900[Privatbesitz, Gustav Klimt, Österreichische Galerie]Gustav KlimtOil on millboard Depictions of the deceased appear frequently in Klimt’s oeuvre, but are usually not shown to the public due to the highly personal nature of the subject matter. In most cases, the people can be clearly identified. Not so in the case of this portrait, where the identity of the old man has yet to be fully determined and continues to puzzle scholars. Klimt often painted such portraits immediately after death, sometimes on the very day of the subject’s passing. This painting is dated 1900, which may indicate the year of the man’s death. The work was probably cropped, as only a fragment of the original composition is visible today.Paintinghttps://sammlungtest.belvedere.at/objects/9957/rdf/internal/media/dispatcher/50572/fullNymph and Satyrc. 1900[Georg Klimt]Georg KlimtCopper, RepousséSculpturehttps://sammlungtest.belvedere.at/objects/33380/rdf/internal/media/dispatcher/32879/fullGustav Klimt and Emilie Flöge1899[Unbekannte*r Fotograf*in]Unbekannte*r Fotograf*inFerrotype in passepartoutPhotographyhttps://sammlungtest.belvedere.at/objects/18169/rdf/internal/media/dispatcher/48307/fullLetter from Gustav Klimt to Emilie Flöge27/4/1899[Gustav Klimt]Gustav KlimtPencil on paperArchive materialhttps://sammlungtest.belvedere.at/objects/35376/rdf/internal/media/dispatcher/48313/fullLetter from Gustav Klimt to Emilie Flögeafter 1899[Gustav Klimt]Gustav KlimtPen and black india ink on paperArchive materialhttps://sammlungtest.belvedere.at/objects/35377/rdf/internal/media/dispatcher/4073/fullAfter the Rain1898[Gustav Klimt, Ministerium für Kultus und Unterricht, Moderne Galerie, Wien, Vereinigung bildender Künstler Österreichs Secession]Gustav KlimtOil on canvasGustav Klimt spent his first summer vacation in the Salzkammergut region in August 1898. He resided for several weeks at Sankt Agatha near Steeg on Hallstatt Lake in the company of the Flöge family. During his stay, he created four landscape paintings, including After the Rain. Even in these early landscapes, Klimt’s soft brushwork, conveying a fleeting impression, attests that he was particularly influenced by the style of the French Impressionists. The artist also drew inspiration from Japanese woodblock prints. After the Rain was the first work by Klimt to enter the collection in 1900, three years before the opening of the Moderne Galerie at the Lower Belvedere.Paintinghttps://sammlungtest.belvedere.at/objects/6087/rdf/internal/media/dispatcher/17188/fullRed Sketchbook1898[Unbekannter Besitz, Gustav Klimt, Sonja Knips, Galerie Christian M. Nebehay, Wien, Österreichische Galerie]Gustav KlimtBooklet bound in red leather, drawings and notes in pencil and a black and white photo Gustav Klimt used this red leather-bound sketchbook beginning in 1898 to capture his spontaneous ideas, including sketches for the works Nuda Veritas (1899), Judith I (1901), Will-o’-the-Wisp (1903), Philosophy (1900), and Jurisprudence (1903). The booklet turned up in the estate of Sonja Knips, one of Klimt’s most prominent patrons. In her portrait, dated 1898, Knips can be seen holding the sketchbook. The artist probably presented it to her either during or immediately after the portrait sessions. Historical records suggest that Klimt used many red sketchbooks like this one, but almost all were lost in a fire at Emilie Flöge’s apartment in 1945.Drawing arthttps://sammlungtest.belvedere.at/objects/9997/rdf/internal/media/dispatcher/48300/fullLetter from Gustav Klimt to Emilie Flöge3/9/1898[Gustav Klimt]Gustav KlimtPen and black india ink on paperArchive materialhttps://sammlungtest.belvedere.at/objects/35375/rdf/internal/media/dispatcher/48284/fullLetter from Gustav Klimt to Emilie Flöge11/5/1896[Gustav Klimt]Gustav KlimtPen and black india ink on paperArchive materialhttps://sammlungtest.belvedere.at/objects/35372/rdf/internal/media/dispatcher/48288/fullLetter from Gustav Klimt to Emilie Flöge20/8/1896[Gustav Klimt]Gustav KlimtPen and black india ink on paperArchive materialhttps://sammlungtest.belvedere.at/objects/35373/rdf/internal/media/dispatcher/48295/fullLetter from Gustav Klimt to Emilie Flöge29/8/1896[Gustav Klimt]Gustav KlimtPen and black india ink on paperArchive materialhttps://sammlungtest.belvedere.at/objects/35374/rdf/internal/media/dispatcher/161673/fullBall gift from the Verein der Vorarlberger in Wien (Club of Vorarlbergers in Vienna) with inserted Tanzordnung (dance list) from Emilie Flöge, with a handwritten poem and drawing by Gustav Klimt1895[Gustav Klimt]Gustav KlimtBound booklet with cord, drawing and notes in pencilBallspende Emilie Flöges zum Trachtenkränzchen des Vereins der Vorarlberger in Wien, 16. Februar 1895. In der eingebundenen Tanzordnung (7 x 5,2 cm) ein handschriftlicher Eintrag von Gustav Klimt für den "Vierertanz", eine eigenhändige Zeichnung auf der vorletzten Seite sowie ein darauf folgendes Gedicht (mit Bleistift): "Schmerzlich ist es / nicht zu lieben / Liebe selbst bringt bittern Schmerz / Aber Lieben wir vergebens dann / schlagt im ärgsten Leid das Herz. / Anakreon / Keiner weiss / es besser / als / GVSTAV / der Esel."Archive materialhttps://sammlungtest.belvedere.at/objects/18168/rdf/internal/media/dispatcher/42881/fullLetter from Gustav Klimt to Emilie Flöge18/11/1895[Gustav Klimt]Gustav KlimtBlack ink on paperArchive materialhttps://sammlungtest.belvedere.at/objects/29844/rdf/internal/media/dispatcher/4120/fullFrancesca da Rimini and Paoloc. 1890[Ernst Klimt]Ernst KlimtOil on canvasPaintinghttps://sammlungtest.belvedere.at/objects/10093/rdf/internal/media/dispatcher/81521/fullThe Theater of Dionysus in Athens. Study for the ceiling painting in the staircases of the Burgtheater, Vienna1886[Franz von Matsch]Franz von MatschOil on canvasPaintinghttps://sammlungtest.belvedere.at/objects/61373/rdf/internal/media/dispatcher/87121/fullStill Life with Armorc. 1885[Ernst Klimt]Ernst KlimtOil on canvas on cardboardDas Stillleben stellt zwei Teile einer bislang nicht identifizierten Rüstung dar. Die Sturmhaube ist eine freie Nachahmung der sogenannten "Bourguignote à la chimère" aus dem Pariser Musée de l‘ Armée (Inv. Nr. H 254).Paintinghttps://sammlungtest.belvedere.at/objects/1468/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/3990/fullAllegory of Sacred Music (Female Organ Player)1884[Gustav Klimt, Galerie Miethke, Wien, k. k. Österreichische Staatsgalerie, Gustav Klimt]Gustav KlimtOil on canvas A female organist, dressed in a luxurious blue silk robe, kneels before her instrument. The figure is accompanied by a cittern-playing angel hovering just above her head, as well as a pair of singing cherubs. This sketch was made in preparation for a ceiling fresco for the Municipal Theater in Fiume (Rijeka), which was to be executed the following year by the studio of the Klimt brothers and Franz Matsch. The proposed theme was a cycle of allegories on the various genres of music. Klimt’s design is an allegory of sacred music. The figure’s kneeling posture symbolizes the sanctified aspect and transforms the organ into an altar. The musician’s transfigured gaze toward the heavens is also indicative of this.Paintinghttps://sammlungtest.belvedere.at/objects/471/rdf/internal/media/dispatcher/87116/fullDecorative Bouquet of Flowers1884[Hans Makart]Hans MakartOil on canvasHevesi nannte dieses Blumenbouquet das letzte Bild Makarts. — Auf der Ansicht des Makart-Ateliers von Rudolf von Alt (Wien Museum, Inv.-Nr. 17.937) im Hintergrund zu erkennen. — [Vgl. Frodl, Makart, 2013, Kat. Nr. 519/1-4, 518]Paintinghttps://sammlungtest.belvedere.at/objects/2540/rdf/internal/media/dispatcher/42879/fullMale Nude1883[Österreichische Galerie, Gustav Klimt, Walter Reinhardt, Gustav Klimt, Gustav Klimt, Theresia Reinhardt]Gustav KlimtOil on canvas This study of a male nude is one of the earliest known paintings by Gustav Klimt. It is a prime example of academic teaching. Klimt was a student in the decorative painting class at the Imperial and Royal Arts and Crafts School in Vienna and thus had access to academic training as a history painter. Works such as this were not intended to be sold on the art market, but were created as practice pieces. The model is kneeling on plain, stacked wooden crates in an unadorned studio space. With his right hand in a defensive position, the pose is reminiscent of figures found on ancient battle sarcophagi. Klimt thus studied a classical pictorial formula in the most naturalistic way possible.Paintinghttps://sammlungtest.belvedere.at/objects/4742/rdf/internal/media/dispatcher/129309/fullDesign for the decoration of the bedroom of Empress Elisabeth in the Hermesvilla (center scene: A Midsummer Night's Dream)1882[Hans Makart]Hans MakartOil on canvasDer Dekorationsentwurf hat den "Sommernachtstraum" nach William Shakespeare zum Thema und bezieht sich auf die Nordwand des Schlafzimmers von Kaiserin Elisabeth (1837–1898) in der Hermesvilla in Wien-Lainz. Rechts ist ein Stück Leinwand mit der Darstellung eines Kandelabers angefügt. Die Jagd- und Sommervilla wurde nach Plänen des Architekten Carl Hasenauer (1833–1886) zwischen 1882 und 1886 errichtet. Makart stellte im Mittelfeld des Entwurfs die Liebespaare Hermia und Lysander sowie Helena und Demetrius dar. Zur Ausführung durch ihn selbst kam es nicht mehr, dies blieb mehreren seiner Schüler und Mitarbeiter vorbehalten, wie Eduard Charlmont (1842–1906), Julius Viktor Berger (1850–1902), dem Dekorationsmaler Pietro Isella (1827–1887) und Carl Rudolf Huber (1839–1896). Letzterer hielt sich an der Nordwand weitgehend an den Entwurf Makarts, ersetzte allerdings das Paar im Zentrum der Komposition durch Titania und Oberon – wahrscheinlich auf Wunsch der Kaiserin. — [Vgl. Frodl, Makart, 2013, Kat. Nr. 448]Paintinghttps://sammlungtest.belvedere.at/objects/8409/rdf/internal/media/dispatcher/38908/fullHermine and Klara Klimtc. 1882[Franz von Matsch]Franz von MatschOil on canvasPaintinghttps://sammlungtest.belvedere.at/objects/29687/rdf