16/internal/media/dispatcher/21136/fullNudes in the Forest1910-1911[Franz Wiegele]Franz WiegeleOil on canvasPaintinghttps://sammlungtest.belvedere.at/objects/8400/rdf/internal/media/dispatcher/12775/fullSwimming Pool1905[Ludwig Ferdinand Graf]Ludwig Ferdinand GrafOil on canvasPaintinghttps://sammlungtest.belvedere.at/objects/106/rdf/internal/media/dispatcher/4073/fullAfter the Rain1898[Gustav Klimt, Vereinigung bildender Künstler Österreichs Secession, Ministerium für Kultus und Unterricht, Moderne Galerie, Wien]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/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/7371/fullField of Turnipsc. 1888[Emil Jakob Schindler]Emil Jakob SchindlerOil on canvasPaintinghttps://sammlungtest.belvedere.at/objects/4189/rdf/internal/media/dispatcher/4465/fullMarch Atmosphere – Early Spring in the Vienna Woodsc. 1884[Emil Jakob Schindler]Emil Jakob SchindlerOil on canvasunvollendet (Gemälde zu beabsichtigtem Bilderzyklus "Die Monate")Paintinghttps://sammlungtest.belvedere.at/objects/2807/rdf/internal/media/dispatcher/17935/fullGotische Grabkirche St. Michael, Seitenansicht1883[Hans Makart]Hans MakartOil on canvasSiehe Text zu Frodl, Makart, 2013, Kat. Nr. 490/1. — Zwei der Medaillons im Zwischengeschoß sind Fotos nach Engeln Martin Schongauers (um 1450–1491). In den Nischen hinter der Arkatur im Erdgeschoß sind zwei biblische Szenen angedeutet: Vertreibung aus dem Paradies, Kain und Abel. Dazu zwei Schlachtenszenen? – Das Bild ist nicht ganz vollendet (Hintergrund).Paintinghttps://sammlungtest.belvedere.at/objects/132/rdf/internal/media/dispatcher/12034/fullChrist Before Pilate1881[Mihály von Munkácsy]Mihály von MunkácsyOil on woodPaintinghttps://sammlungtest.belvedere.at/objects/9755/rdf/internal/media/dispatcher/157508/fullMarket in Cairo1878[Leopold Carl Müller]Leopold Carl MüllerOil on canvasPaintinghttps://sammlungtest.belvedere.at/objects/9008/rdf/internal/media/dispatcher/5904/fullSelbstporträt mit Pinsel in der Hand1875[Friedrich von Amerling]Friedrich von AmerlingOil on canvasProbszt 1927: Gemalt in WienPaintinghttps://sammlungtest.belvedere.at/objects/8477/rdf/internal/media/dispatcher/6082/fullEntry of Charles V. in Antwerp1875[Hans Makart]Hans MakartOil on canvasNach einem Atelierbesuch im Juli 1875 beschrieb Carl von Lützow die Skizze in der Kunstchronik. (Lützow, Bilder, 13.8.1875) In diesem ersten Entwurf zum großen Bild in Hamburg (vgl. Frodl, Makart, 2013, Kat. Nr. Kat. Nr. 352) ist Albrecht Dürer als Zeuge der historischen Szene bereits festgehalten (links im Bild). Makart wählte als Ort der Handlung den Hafen, erst später verlegte er den Standort des Festzugs weiter in die Stadt. Die Anordnung des Zugs hat er jedoch nicht mehr geändert. — [Vgl. Frodl, Makart, 2013, Kat. Nr. 306]Paintinghttps://sammlungtest.belvedere.at/objects/47193/rdf/internal/media/dispatcher/7456/fullHungarian Peasant with Horses and Cart at a Stream1870/1880[August von Pettenkofen]August von PettenkofenOil on woodPaintinghttps://sammlungtest.belvedere.at/objects/6754/rdf/internal/media/dispatcher/4759/fullThe Casualty Transport II1869[August von Pettenkofen]August von PettenkofenOil on wood It is not known why August von Pettenkofen accompanied the Austrian army as a war artist in the Hungarian War of Independence of 1848/49, but this military conflict preoccupied the artist as a subject through to the 1860s. His paintings do not represent Austrian and Russian soldiers in heroic poses, however, but capture the daily privations and horrors of war using a dark palette. The genre-like depiction of Bivouacking Russian Soldiers is still entirely in the tradition of Biedermeier Realism. By contrast, Transportation of Wounded Soldiers II and After the Battle appear harsh and austere.Paintinghttps://sammlungtest.belvedere.at/objects/882/rdf/internal/media/dispatcher/3831/fullDrunken Slovakian Peasants Racing Teams of Horses1869[Julius von Blaas d. Ä.]Julius von Blaas d. Ä.Oil on canvas These young men with their four-wheeled, horsedrawn carts are going head-to-head in a daredevil race at hellish speeds. They are wildly lashing the animals, who are wide-eyed at a full gallop down a country road. The sun has already disappeared behind the horizon, imbuing the scene with an ominous evening atmosphere. Julius Blaas studied painting at the academies in Venice, Florence, and Rome. This depiction is one of his early works, and the painter captures the dynamism and drama of a fast and furious race in a snapshot reminiscent of a film scene.Paintinghttps://sammlungtest.belvedere.at/objects/8512/rdf/internal/media/dispatcher/6912/fullMountain Stream in the Ramsauc. 1868[Emil Jakob Schindler]Emil Jakob SchindlerOil on paper on cardboardPaintinghttps://sammlungtest.belvedere.at/objects/4271/rdf/internal/media/dispatcher/88511/fullRudolf I. von Habsburg an der Leiche Przemysl Ottokars II. von Böhmenc. 1850/1860[Carl Rahl]Carl RahlChalk, Charcoal on cardboardDrawing arthttps://sammlungtest.belvedere.at/objects/12535/rdf