167/internal/media/dispatcher/12002/fullLandscape in the South of Francebefore 1971[Georg Merkel]Georg MerkelOil on canvasPaintinghttps://sammlungtest.belvedere.at/objects/4459/rdf/internal/media/dispatcher/10583/fullLovers with Two Women1950/1958[Georg Merkel]Georg MerkelOil on woodPaintinghttps://sammlungtest.belvedere.at/objects/4591/rdf/internal/media/dispatcher/15859/fullOskar Laske1941[Karl Stemolak]Karl StemolakBronzeSculpturehttps://sammlungtest.belvedere.at/objects/2794/rdf/internal/media/dispatcher/19625/fullFrauentorso1939[Fritz Wotruba]Fritz WotrubaBronzeSculpturehttps://sammlungtest.belvedere.at/objects/4697/rdf/internal/media/dispatcher/6056/fullBlue Quarry near St. Margarethen1938[Herbert Boeckl]Herbert BoecklOil on canvasPaintinghttps://sammlungtest.belvedere.at/objects/2639/rdf/internal/media/dispatcher/144016/fullBaroque Composition1938[Lilly Steiner]Lilly SteinerOil on canvasPaintinghttps://sammlungtest.belvedere.at/objects/2950/rdf/internal/media/dispatcher/6062/fullYellow Quarry near St. Margarethen1938[Herbert Boeckl]Herbert BoecklOil on canvasPaintinghttps://sammlungtest.belvedere.at/objects/3228/rdf/internal/media/dispatcher/117817/fullGuard1938[Greta Freist]Greta FreistOil on canvasAfter studying at the Vienna academy, Greta Freist shared a studio in Döbling with her colleague and partner Gottfried Goebel and the writer Heimito von Doderer, which became a meeting place for artists and writers. In 1936 she emigrated with Goebel to Paris. Within her œuvre, which featured many changes in style, the magically tinged realism of these years stands out in particular, demonstrating her intensive exploration of Surrealism. In the 1938 painting The Guard, the artist imagines a moonlit underwater scene that may be interpreted as a comment on the widespread ignorance about the political upheavals of the time. Paintinghttps://sammlungtest.belvedere.at/objects/5241/rdf/internal/media/dispatcher/9549/fullGold Mine in Nassfeld near Gastein1938[Josef Dobrowsky]Josef DobrowskyOil on canvasPaintinghttps://sammlungtest.belvedere.at/objects/8997/rdf/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/11976/fullOn the Beach1938[Ferdinand Stransky]Ferdinand StranskyOil on paperPaintinghttps://sammlungtest.belvedere.at/objects/9021/rdf/internal/media/dispatcher/9577/fullGirl with Black Gloves1937[Rudolf Hermann Eisenmenger]Rudolf Hermann EisenmengerOil on canvasPaintinghttps://sammlungtest.belvedere.at/objects/2189/rdf/internal/media/dispatcher/19321/fullThe Last Houses (Scene in Krems)1937[Viktor Pipal]Viktor PipalOil on canvasPaintinghttps://sammlungtest.belvedere.at/objects/2622/rdf/internal/media/dispatcher/15711/fullWinter Landscape on Lake Attersee1937[Walther Gamerith]Walther GamerithOil on canvasPaintinghttps://sammlungtest.belvedere.at/objects/2777/rdf/internal/media/dispatcher/19749/fullSelf-Portrait1937[Lilly Steiner]Lilly SteinerOil on canvasThe painter and graphic artist Lilly Steiner, née Hofmann, studied at the Women’s School of Art in Vienna. Together with her husband Hugo Steiner she established Haus Steiner, built in 1910 by Adolf Loos, as a meeting place for the Vienna art scene. In 1927 the couple moved to Paris. Although still influenced at first by Expressionism, she gradually adopted a more decorative style. Steiner reacted to the rise of National Socialism in Germany and Austria with a growing politicization of her art. This self-portrait painted in 1937 shows the artist in her studio looking questioningly at the viewer. In the year of Austria’s annexation to Nazi Germany, Steiner’s work became even more explicit in its depiction of the downfall of Austria after Hitler’s takeover. Paintinghttps://sammlungtest.belvedere.at/objects/2949/rdf/internal/media/dispatcher/11955/fullEmpfang1937[Franz von Zülow]Franz von ZülowOil on cardboardPaintinghttps://sammlungtest.belvedere.at/objects/4647/rdf/internal/media/dispatcher/67939/fullSelf-Portrait1936[Josef Dobrowsky]Josef DobrowskyOil on canvasPaintinghttps://sammlungtest.belvedere.at/objects/2145/rdf/internal/media/dispatcher/5246/fullPrague Harbour1936[Oskar Kokoschka]Oskar KokoschkaOil on canvasAls Kokoschka das Bild des Prager Flusshafens malt, lebt er bereits zwei Jahre in der Tschechei. Er hatte Wien aufgrund der politischen und wirtschaftlichen Verhältnisse im Jahr 1934 verlassen. Der Tod seiner Mutter und die spürbare Isolation vom internationalen Kunstgeschehen verstärkten seinen Entschluss, Wien zu verlassen. Zahlreiche Zeichnungen und Gemälde mit Prager Stadtansichten entstehen in der Prager Zeit bis zur Flucht nach London im Oktober 1938. Kokoschka malt die Brücke an der Moldau aus erhöhtem Standpunkt, wie er es bereits in seinen Hafenbildern aus Monte Carlo, Marseille (beide 1925), Hamburg und London (beide 1926) praktizierte. Im Gegensatz zu den in diesem Raum gezeigten Bildern ist die Farbpalette heller und reiner in den Farbtönen. Die Pinselführung ist schraffierend und evoziert in ihrer Dynamik eine starke wirbelartige, atmosphärische Bewegung. — [Harald Krejci, 4/2010]Paintinghttps://sammlungtest.belvedere.at/objects/2176/rdf/internal/media/dispatcher/9579/fullFuneral in Springtime1936[Maximilian Florian]Maximilian FlorianOil on canvasPaintinghttps://sammlungtest.belvedere.at/objects/2819/rdf/internal/media/dispatcher/11395/fullStanding Lovers1936/1949[Georg Merkel]Georg MerkelOil on canvasPaintinghttps://sammlungtest.belvedere.at/objects/3686/rdf/internal/media/dispatcher/19677/fullGrete Gamerith on a Blue Couch1936[Walther Gamerith]Walther GamerithOil on canvas Pensive, perhaps a bit tired, but at ease with herself, Grete Gamerith, the artist’s wife, has settled down on a couch in an elegant dressing room. Using cool, harmonious shades of blue, Walther Gamerith depicts this private moment of serenity in a straightforward yet lyrical way. Portraits, nudes, and atmospheric landscapes were some of the painter’s favorite subjects. Encouraged by Karl Ludwig Strauch, who also recognized Egon Schiele’s talent, he studied at the Vienna Academy. He later lived in Vienna and at the Attersee and became a member of the Künstlerhaus, participating in numerous exhibitions. He died unexpectedly in his 46th year. Paintinghttps://sammlungtest.belvedere.at/objects/4513/rdf/internal/media/dispatcher/9576/fullLandscape near Pittenbefore 1935[Robin Christian Andersen]Robin Christian AndersenOil on canvasPaintinghttps://sammlungtest.belvedere.at/objects/2114/rdf/internal/media/dispatcher/22308/fullGailtalerinnen1935[Franz Wiegele]Franz WiegeleOil on parchmentPaintinghttps://sammlungtest.belvedere.at/objects/2591/rdf/internal/media/dispatcher/16598/fullFemale Head with Turban (Edwarda)1935[Viktor Planckh]Viktor PlanckhBronzeSculpturehttps://sammlungtest.belvedere.at/objects/2690/rdf/internal/media/dispatcher/19866/fullDido on the Funeral Pyre1935[Alexander Rothaug]Alexander RothaugOil on canvasPaintinghttps://sammlungtest.belvedere.at/objects/2844/rdf/internal/media/dispatcher/4828/fullView of Manhattan (East River)1935–1938[Wilhelm Thöny]Wilhelm ThönyOil on cardboardWilhelm Thöny studied at the academy in Munich and returned in 1923 to Graz, where he co-founded the Graz Secession. In 1931 he moved with his Jewish wife Thea Herrmann-Trautner to Paris and they started traveling extensively. He was particularly fascinated by large cities. After a first visit in 1933 to New York, which featured in his paintings thereafter, the couple planned a longer stay in 1938 but ended up settling there permanently on account of the war. Thöny organized numerous exhibitions in the USA but at the same time remained largely isolated from the New York art scene. Several hundred works, the majority of his œuvre, were destroyed in a warehouse fire in March 1948. Paintinghttps://sammlungtest.belvedere.at/objects/3418/rdf/internal/media/dispatcher/10586/fullBoy in a Landscape1935[Karl Suschnik]Karl SuschnikOil on pressboardPaintinghttps://sammlungtest.belvedere.at/objects/4792/rdf/internal/media/dispatcher/9575/fullLandscape1934[Franz von Zülow]Franz von ZülowOil on cardboardPaintinghttps://sammlungtest.belvedere.at/objects/2007/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/11989/fullStillleben mit Küchengeschirr1934[Franz von Zülow]Franz von ZülowOil on canvasPaintinghttps://sammlungtest.belvedere.at/objects/2089/rdf/internal/media/dispatcher/5244/fullLesson1934[Josef Dobrowsky]Josef DobrowskyOil on canvasPaintinghttps://sammlungtest.belvedere.at/objects/2110/rdf/internal/media/dispatcher/16595/fullHead of a Youth1934[Franz Hagenauer]Franz HagenauerHammered copperSculpturehttps://sammlungtest.belvedere.at/objects/2123/rdf/internal/media/dispatcher/19301/fullCourtyard between City Housing Blocks1934[Erich Miller-Hauenfels]Erich Miller-HauenfelsOil on canvas A sense of abandonment and desolation pervades this backyard scene by Erich Miller-Hauenfels. Walls of gray housing blocks rise up all around, with factory chimneys visible in the distance. In the adjacent courtyard, two pruned trees extend their barren branches into the sky. Next to them, a small tree adds a touch of life to the otherwise austere location. Miller-Hauenfels painted nature, cityscapes, and industrial landscapes, characterized by distinct lighting effects. Completed in 1934, this oppressive image alludes to the atmosphere of the February Uprising and the downfall of the First Republic through the elimination of Parliament a year earlier. Paintinghttps://sammlungtest.belvedere.at/objects/2179/rdf/internal/media/dispatcher/25032/fullFig Tree Near Mentone1934[Arnold Clementschitsch]Arnold ClementschitschOil on canvasMit gestischem Duktus behandelt Clementschitsch das Motiv des Feigenbaumes und die Landschaft gleichermaßen. Die Spannung im Bild erreicht Clementschitsch durch die formale Kontrastierung von arabesker Linienführung im Motiv des Baumes und der horizontalen Linienführung innerhalb der Seelandschaft. Zu dem Bild bemerkt Wilfried Skreiner: "Duftig transparent in Verbindung mit der Kalligraphie des Geästs gemahnt der 'Feigenbaum' an fernöstliche wie an impressionistische Vorbilder." — Literatur: Skreiner, Wilfried: Arnold Clementschitsch – Ein Maler im Zeitenwandel, in: Arnold Clementschitsch. Der Maler, Ausst. Kat. Kärntner Landesgalerie, Klagenfurt 2.12.1987–31.1.1988, Klagenfurt, Graz 1987. — [Harald Krejci, 10/2009]Paintinghttps://sammlungtest.belvedere.at/objects/3871/rdf/internal/media/dispatcher/17355/fullMädchen1934[Wilhelm Traeger]Wilhelm TraegerOil on canvasPaintinghttps://sammlungtest.belvedere.at/objects/4779/rdf/internal/media/dispatcher/10975/fullSelf-Portrait with Wife1934[Franz Lerch]Franz LerchOil on canvasPaintinghttps://sammlungtest.belvedere.at/objects/4833/rdf/internal/media/dispatcher/125927/fullBeim Eichelhof in Nußdorfc. 1933[Carl Moll]Carl MollOil on woodAuf einer Postkarte der Zeit betitelt: Am Nussberg [Wien Bibliothek, Handschriftensammlung IN 224.824]Paintinghttps://sammlungtest.belvedere.at/objects/2139/rdf/internal/media/dispatcher/24345/fullSelf-Portrait with Budgerigar1933[Oskar Laske]Oskar LaskeTempera on canvasPaintinghttps://sammlungtest.belvedere.at/objects/2625/rdf/internal/media/dispatcher/11952/fullJewish Cemetery in Prague1933[Fritz Schwarz-Waldegg]Fritz Schwarz-WaldeggOil on cardboardPaintinghttps://sammlungtest.belvedere.at/objects/4605/rdf/internal/media/dispatcher/9538/fullThe Paralyzed Man (Sick Man)1933[Maximilian Florian]Maximilian FlorianOil on canvasPaintinghttps://sammlungtest.belvedere.at/objects/5260/rdf/internal/media/dispatcher/9635/fullThe Siblings1933[Georg Ehrlich]Georg EhrlichBronzeSculpturehttps://sammlungtest.belvedere.at/objects/8844/rdf/internal/media/dispatcher/95463/fullStill Life with Apples1932[Alfred Wickenburg]Alfred WickenburgOil on canvasPaintinghttps://sammlungtest.belvedere.at/objects/2026/rdf/internal/media/dispatcher/20902/fullLandscape near Zinkenbach am Wolfgangsee1932[Ernst Huber]Ernst HuberOil on canvasPaintinghttps://sammlungtest.belvedere.at/objects/2029/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/95464/fullSchönbrunn1932[Alfred Wickenburg]Alfred WickenburgOil on canvasPaintinghttps://sammlungtest.belvedere.at/objects/2132/rdf/internal/media/dispatcher/16322/fullPeter Behrens1932[Wilhelm Frass]Wilhelm FrassBronzeSculpturehttps://sammlungtest.belvedere.at/objects/2182/rdf/internal/media/dispatcher/16297/fullHead of a Boy1932[Georg Ehrlich]Georg EhrlichBronzeSculpturehttps://sammlungtest.belvedere.at/objects/3334/rdf/internal/media/dispatcher/17629/fullStorm1932[Franz Sedlacek]Franz SedlacekOil on plywoodPaintinghttps://sammlungtest.belvedere.at/objects/3412/rdf/internal/media/dispatcher/12787/fullOn the Gose River (in Goslar)1932[Rudolf Wacker]Rudolf WackerOil on wood In 1922, the painter Rudolf Wacker, a Vorarlberg native, married Ilse Moebius. Originally from Goslar, she worked in the arts and crafts industry. He created several paintings inspired by her native Goslar in the years that followed. This painting shows a view of the small, old German town. The wooden bridge across the Abzucht river leads to a deserted backyard. The houses seem uninviting and closed off, with mostly windowless facades and overlapping rooflines. The dark tones of the house on the left side of the picture contrast with the lighter colors on the right side. A prominent proponent of New Objectivity, Wacker described himself once as an “advocate of the unnoticed humble things.” Paintinghttps://sammlungtest.belvedere.at/objects/4039/rdf/internal/media/dispatcher/19805/fullMrs. Jochum1932[Albert Birkle]Albert BirkleOil on artist board The haunting portrait of Mrs. Jochum was painted in Salzburg by the Berlin artist Albert Birkle in the early 1930s. Pictured here is a proprietress of a fashion salon who was also Birkle's first wife's seamstress. The businesswoman posed for several portraits by the artist, and it is striking to see how directly she gazes at the viewer. The dark eyes, raised brows, and crossed hands supported by a cane make this portrait distinctive. A defining characteristic of Birkle's often sociocritical and somber images in these years is the emphasis placed on individual postures and facial features for dramatic effect.Paintinghttps://sammlungtest.belvedere.at/objects/4962/rdf/internal/media/dispatcher/9574/fullLandschaft bei Lind-Sternberg1931[Felix Esterl]Felix EsterlOil on canvasPaintinghttps://sammlungtest.belvedere.at/objects/1999/rdf/internal/media/dispatcher/12782/fullRoofs1931[Franz Lerch]Franz LerchOil on canvasPaintinghttps://sammlungtest.belvedere.at/objects/2143/rdf/internal/media/dispatcher/51812/fullHans Tietze1931[Georg Ehrlich]Georg EhrlichBronzeSculpturehttps://sammlungtest.belvedere.at/objects/5066/rdf/internal/media/dispatcher/18742/fullView of Paris1931[Ernst Paar]Ernst PaarOil on canvasPaintinghttps://sammlungtest.belvedere.at/objects/9157/rdf/internal/media/dispatcher/24081/fullWinter Landscape near Auerbach1930[Ernst Huber]Ernst HuberOil on canvasPaintinghttps://sammlungtest.belvedere.at/objects/1944/rdf/internal/media/dispatcher/67919/fullMill in Winter1930[Josef Dobrowsky]Josef DobrowskyOil on canvasPaintinghttps://sammlungtest.belvedere.at/objects/1962/rdf/internal/media/dispatcher/12778/fullMargarethe Popp I1930[Sergius Pauser]Sergius PauserOil on canvasPaintinghttps://sammlungtest.belvedere.at/objects/1971/rdf/internal/media/dispatcher/10568/fullSelf-Portrait in Prague1930[Bohdan Heřmanský]Bohdan HeřmanskýOil on canvas Bohdan Heřmanský, born Theodor Herzmansky in Bohemia, grew up in Vienna. He quickly made a name for himself in Austria and was one of the leading members of the Nötsch Circle. Even after the disintegration of Austria-Hungary into many individual nations and his own stays in Stockholm, Siena, and Paris, he retained an attachment to the culture of the former multi-ethnic state. In 1929 he finally moved to Prague, which features in many of his paintings. This selfportrait also shows him on a town square with a colorful row of houses in the background. His right hand is tipping his hat in greeting, and his gaze is fixed on the viewer. A black-and-white mask juts into the picture on the left, almost more lifelike than the geometric forms of the artist’s expressionless face.Paintinghttps://sammlungtest.belvedere.at/objects/1976/rdf/internal/media/dispatcher/10569/fullStreet in the Mountains1930[Ferdinand Kitt]Ferdinand KittOil on canvasPaintinghttps://sammlungtest.belvedere.at/objects/1977/rdf/internal/media/dispatcher/12779/fullThe Painter Roxane Zurunić1930[Franz Lerch]Franz LerchOil on canvas During the interwar period, Franz Lerch, a native of Vienna, was regarded as a proponent of New Objectivity. However, his works from these years, despite their understated neatness, do not appear cold or austere, but always warm, organic, lively as compared to the works of his German counterparts. The woman portrayed here, Roxane Zurunić, cultivated a remarkable path in education for her time. She began her painting studies at the Vienna Academy in 1920 and pursued art history, archaeology, psychology, and architecture in Vienna and Zagreb, where she received her doctorate in 1938. She worked as a teacher and took part in numerous exhibitions with her works. We see the young woman captured in this portrait as self-confident, distinctive, and elegant. Paintinghttps://sammlungtest.belvedere.at/objects/2005/rdf/internal/media/dispatcher/12688/fullParis, 11 November (Place de la Concorde)c. 1935[Wilhelm Thöny]Wilhelm ThönyOil on canvasPaintinghttps://sammlungtest.belvedere.at/objects/4575/rdf/internal/media/dispatcher/17633/fullSelf-Portrait as a Clown1930[Rudolf Spohn]Rudolf SpohnOil on canvasPaintinghttps://sammlungtest.belvedere.at/objects/4965/rdf/internal/media/dispatcher/11421/fullLärmstangec. 1935[Friedrich Hell]Friedrich HellOil on canvasPaintinghttps://sammlungtest.belvedere.at/objects/9225/rdf/internal/media/dispatcher/12715/fullThe Church in the Country1929[Gerhart Frankl]Gerhart FranklOil on canvasPaintinghttps://sammlungtest.belvedere.at/objects/1969/rdf/internal/media/dispatcher/11988/fullStill Life with Grapes, Lemons and Tomatoesbefore 1932[Robin Christian Andersen]Robin Christian AndersenOil on canvasPaintinghttps://sammlungtest.belvedere.at/objects/2027/rdf/internal/media/dispatcher/4820/fullLandscape with Spirec. 1923[Jean Egger]Jean EggerOil on canvasPaintinghttps://sammlungtest.belvedere.at/objects/3182/rdf/internal/media/dispatcher/12733/fullMontmartre, Paris1929[Gerhart Frankl]Gerhart FranklOil on canvasPaintinghttps://sammlungtest.belvedere.at/objects/3878/rdf/internal/media/dispatcher/5305/fullDulsie Bridge, Findhorn River, Scotland1929[Oskar Kokoschka]Oskar KokoschkaOil on canvasIm Sommer 1929 verbringt Kokoschka fast sieben Wochen im schottischen Hochland in der Nähe von Inverness. Mit ihm reist Walter Feilchenfeldt, der Leiter der Berliner Kunst- und Verlagsbuchhandlung Paul Cassirer. Nach intensiver Standortsuche malt Kokoschka das Bild der Dulsie Bridge direkt vor der Natur. In der linken oberen Ecke ist noch das Farmhaus zu sehen, wo ihn die Familie Steward beherbergte. Er schreibt an seine Eltern: "Hier ist ein Landhaus mit entzückenden Leuten, Wildbach wie in unseren Alpen […] wahrscheinlich bleibe ich einige Zeit im Land, muss aber noch einen Platz finden." (Brief vom 15.8.1929) Kokoschka zeigte sich von den Erfahrungen des ländlichen Lebens der Familie, der dortigen Folklore und der lokalen Bräuche beeindruckt. Die Fluss- und Moorlandschaft dieser Region verarbeitet er in zahlreichen Skizzen und insgesamt drei Ölbildern. — [Harald Krejci, 2/2010]Paintinghttps://sammlungtest.belvedere.at/objects/4135/rdf/internal/media/dispatcher/5352/fullGirl with Hat1929[Franz Lerch]Franz LerchOil on canvasPaintinghttps://sammlungtest.belvedere.at/objects/4825/rdf/internal/media/dispatcher/25295/fullLeaping Horse1929[Herbert Boeckl]Herbert BoecklBronzeHerbert Boeckl gilt als einer der wichtigsten österreichischen Maler des 20. Jahrhunderts. Als Professor an der Wiener Akademie prägte er während des legendären Abendaktes nachfolgende Generationen. Boeckls umfangreiches, sich kontinuierlich weiterentwickelndes Œuvre aus fünf Jahrzehnten umfasst eine Vielzahl von Zeichnungen, Aquarellen und Gemälden, die nahezu alle Gattungen der Malerei abdecken. In seinem Frühwerk dem expressionistischen Gestus von Egon Schiele und Oskar Kokoschka nahestehend, machte er in den 1920er-Jahren auf Studienreisen nach Berlin, Paris und Italien Bekanntschaft mit der internationalen Moderne. Eine Reihe bedeutender Landschaftsbilder, sehr spezifisch in ihrem plastisch-pastosen Farbauftrag, verweist auf den nachhaltigen Eindruck, den Arbeiten von Vincent van Gogh, den Fauves oder Paul Cézanne bei Boeckl hinterlassen haben. Aus dieser Phase stammt auch die dynamisch-expressionistische Bronzeskulptur Springendes Pferd, in der Boeckl das für ihn typische Prinzip einer Haptik in der Malerei überzeugend in die Dreidimensionalität überträgt. — [Kerstin Krenn, in: Agnes Husslein-Arco, Severin Dünser, Luisa Ziaja (Hg.), Flirting with Strangers. Begegnungen mit Werken aus der Sammlung, Wien 2015, S. 19] Weitere Abgüsse: Köln, Wallraff-Richartz-Museum (zerstört). - Salzburg, Rupertinum. - Wien, Leopold Museum. - Drei weitere Exemplare im PrivatbesitzSculpturehttps://sammlungtest.belvedere.at/objects/4915/rdf/internal/media/dispatcher/6499/fullEichelhof near Nußdorf1929[Josef Dobrowsky]Josef DobrowskyOil on canvasPaintinghttps://sammlungtest.belvedere.at/objects/8687/rdf/internal/media/dispatcher/6507/fullPietà1929 (cast: 1949)[Anton Hanak]Anton HanakBronzeSculpturehttps://sammlungtest.belvedere.at/objects/8916/rdf/internal/media/dispatcher/12762/fullTafelrunde auf der Terrasse1929[Joseph Floch]Joseph FlochOil on canvasPaintinghttps://sammlungtest.belvedere.at/objects/9094/rdf/internal/media/dispatcher/17212/fullStehender Akt1929[Theodor Klotz-Dürrenbach]Theodor Klotz-DürrenbachOil on canvasPaintinghttps://sammlungtest.belvedere.at/objects/9107/rdf/internal/media/dispatcher/125926/fullPrater, Mittagsonne1927[Carl Moll]Carl MollOil on canvasPaintinghttps://sammlungtest.belvedere.at/objects/1966/rdf/internal/media/dispatcher/12797/fullStill Life with Leaping Horse1928[Herbert Boeckl]Herbert BoecklOil on canvasPaintinghttps://sammlungtest.belvedere.at/objects/1981/rdf/internal/media/dispatcher/4835/fullOpen Window1928[Franz Lerch]Franz LerchOil on canvasPaintinghttps://sammlungtest.belvedere.at/objects/4196/rdf/internal/media/dispatcher/16301/fullFanny Kallirc. 1933[Georg Ehrlich]Georg EhrlichBronze Sculpturehttps://sammlungtest.belvedere.at/objects/4549/rdf/internal/media/dispatcher/15741/fullSelf-Portrait1928[Georg Ehrlich]Georg EhrlichBronze, HohlgussSculpturehttps://sammlungtest.belvedere.at/objects/4656/rdf/internal/media/dispatcher/12795/fullTorso1928–1929[Fritz Wotruba]Fritz WotrubaBronzeSculpturehttps://sammlungtest.belvedere.at/objects/5041/rdf/internal/media/dispatcher/11974/fullThe Artist's Wifebefore 1923[Viktor Tischler]Viktor TischlerOil on woodPaintinghttps://sammlungtest.belvedere.at/objects/8239/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/6119/fullFloral Landscape1928[Robin Christian Andersen]Robin Christian AndersenOil on canvasPaintinghttps://sammlungtest.belvedere.at/objects/8635/rdf/internal/media/dispatcher/12759/fullPortrait of Arnold Clementschitsch1928[Herbert Boeckl]Herbert BoecklOil on canvasArnold Jakob Clementschitsch (1887-1970) war Maler, Graphiker und Schriftsteller. Clementschitsch kannte Boeckl persönlich.Paintinghttps://sammlungtest.belvedere.at/objects/8679/rdf/internal/media/dispatcher/9514/fullPortrait of a Lady1928[Josef Dobrowsky]Josef DobrowskyOil on canvasPaintinghttps://sammlungtest.belvedere.at/objects/8681/rdf/internal/media/dispatcher/12710/fullHugo von Hofmannsthal1928[Anton Faistauer]Anton FaistauerOil on canvasPaintinghttps://sammlungtest.belvedere.at/objects/8811/rdf/internal/media/dispatcher/19627/fullFemale Torso1928[Walter Ritter]Walter RitterLeadSculpturehttps://sammlungtest.belvedere.at/objects/9026/rdf/internal/media/dispatcher/12708/fullStill Life with Clay Pipe1928[Gerhart Frankl]Gerhart FranklOil on canvasFrankls Beschäftigung mit dem Stillleben nimmt in den 1920er Jahren eine wichtige Stellung in der Entwicklung seiner Malerei ein. Zeigt er in seinen frühen Landschaften einen dynamisch-expressiven Umgang mit der Farbe, so steht hier das Spannungsverhältnis zwischen den sehr reduzierten und subtilen Farbwerten im Vordergrund. Das intensive Studium Frankls der Stillleben Cézannes kommt hier verstärkt zum Ausdruck. Werner Hofmann beschreibt das Bild als "Musterbeispiel samtiger Valeurmalerei". Noch im selben Jahr kaufte die Moderne Galerie das Bild an und unterstrich damit den bereits zur Entstehung dem Bild beigemessenen Wert für die Österreichische Kunst. — [Harald Krejci, 10/2009]Paintinghttps://sammlungtest.belvedere.at/objects/8637/rdf/internal/media/dispatcher/9455/fullAnton von Webern1928[Josef Humplik]Josef HumplikBronzeSculpturehttps://sammlungtest.belvedere.at/objects/8688/rdf/internal/media/dispatcher/4909/fullThe Artist's Family1928[Anton Kolig]Anton KoligOil on canvasPaintinghttps://sammlungtest.belvedere.at/objects/8690/rdf/internal/media/dispatcher/10555/fullHouses in the Landscape1927[Franz Lerch]Franz LerchOil on canvasPaintinghttps://sammlungtest.belvedere.at/objects/4913/rdf/internal/media/dispatcher/19023/fullLandscape1927[Egge Sturm-Skrla]Egge Sturm-SkrlaOil on canvasPaintinghttps://sammlungtest.belvedere.at/objects/4980/rdf/internal/media/dispatcher/4906/fullPortrait of the Isepp Family1927/1928[Franz Wiegele]Franz WiegeleOil on canvasDargestellt ist die Familie Isepp mit Hubert Isepp sen., die Gattin Anna Isepp und den Kindern Grete und Hubert jun. Im Spiegel an der rückwärtigen Wand erscheint der Künstler selber.Paintinghttps://sammlungtest.belvedere.at/objects/8634/rdf/internal/media/dispatcher/15759/fullErika Tietze-Conrat1927[Georg Ehrlich]Georg EhrlichBronzeSculpturehttps://sammlungtest.belvedere.at/objects/8845/rdf/internal/media/dispatcher/12781/fullAjaccio1926[Anton Faistauer]Anton FaistauerOil on canvasPaintinghttps://sammlungtest.belvedere.at/objects/2141/rdf/internal/media/dispatcher/10571/fullLandscape near Ober-St.-Veitc. 1931[Georg Merkel]Georg MerkelOil on canvasPaintinghttps://sammlungtest.belvedere.at/objects/2000/rdf/internal/media/dispatcher/12726/fullYoung Woman in Pink Dress1926[Anton Faistauer]Anton FaistauerOil on canvasPaintinghttps://sammlungtest.belvedere.at/objects/3248/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/17962/fullLuise Eisner, spätere Fürstin Odescalchi1926[John Quincy Adams]John Quincy AdamsOil on canvasPaintinghttps://sammlungtest.belvedere.at/objects/4305/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