73/internal/media/dispatcher/17615/fullYellow Begonia1955[Werner Berg]Werner BergOil on canvasPaintinghttps://sammlungtest.belvedere.at/objects/9224/rdf/internal/media/dispatcher/10969/fullFigures on a Terrace1952[Joseph Floch]Joseph FlochOil on canvasPaintinghttps://sammlungtest.belvedere.at/objects/3881/rdf/internal/media/dispatcher/6065/fullSt. Thérèse of Lisieux1952[Herbert Boeckl]Herbert BoecklOil on canvasThérèse von Lisieux (1873-1897) war Nonne im Orden der Unbeschuhten Karmelitinnen. Sie wurde 1925 von Pius XI. heilig gesprochen und 1997 von Papst Johannes Paul II. zur Kirchenlehrerin erhoben.Paintinghttps://sammlungtest.belvedere.at/objects/3568/rdf/internal/media/dispatcher/12732/fullMadrid1952[Herbert Boeckl]Herbert BoecklOil on canvasPaintinghttps://sammlungtest.belvedere.at/objects/3577/rdf/internal/media/dispatcher/12734/fullSelf-Portrait II1950/1953[Gerhart Frankl]Gerhart FranklOil on canvasPaintinghttps://sammlungtest.belvedere.at/objects/3879/rdf/internal/media/dispatcher/162472/fullLarge Seated Figure ("Human Cathedral")1949[Fritz Wotruba]Fritz WotrubaMannersdorf limestoneFritz Wotruba has been hailed as one of the most important twentieth-century European sculptors. After 1945, he makes signal contributions to the rebuilding of Austrian culture, especially through his influential work as a professor at the Academy of Fine Arts Vienna. The devastations of war he has witnessed leave a lasting imprint on his work. In the late 1940s, his sculptures take on increasingly angular features. “Large Seated Figure” is a major work of this period, which marks the transition to a new phase in Wotruba’s oeuvre in which he conceives the human figure in architectonic terms. Body parts are then based on cubes and rectangular solids, later complemented by columns and pillars, from which he positively constructs his sculptures.Sculpturehttps://sammlungtest.belvedere.at/objects/3524/rdf/internal/media/dispatcher/6064/fullDominican V1948[Herbert Boeckl]Herbert BoecklOil on canvasPaintinghttps://sammlungtest.belvedere.at/objects/3567/rdf/internal/media/dispatcher/25297/fullErzberg II1947[Herbert Boeckl]Herbert BoecklOil on canvasPaintinghttps://sammlungtest.belvedere.at/objects/9185/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/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/12733/fullMontmartre, Paris1929[Gerhart Frankl]Gerhart FranklOil on canvasPaintinghttps://sammlungtest.belvedere.at/objects/3878/rdf/internal/media/dispatcher/47442/fullStill Life with Skull and Fishc. 1929[Felix Esterl]Felix EsterlOil on canvasPaintinghttps://sammlungtest.belvedere.at/objects/3578/rdf/internal/media/dispatcher/9589/fullBouquet of Flowers in White Vase1917[Anton Faistauer]Anton FaistauerOil on canvas, mounted on cardboardPaintinghttps://sammlungtest.belvedere.at/objects/3801/rdf/internal/media/dispatcher/12699/fullSmall Tree in Blossomc. 1911[Koloman Moser]Koloman MoserOil on canvasPaintinghttps://sammlungtest.belvedere.at/objects/7952/rdf/internal/media/dispatcher/4830/fullThe Reiner Boy (Portrait of Herbert Reiner)1910[Egon Schiele]Egon SchieleOil on canvas In 1910 the renowned orthopedic specialist Max Reiner commissioned a portrait of his five-year-old son Herbert from the young painter Egon Schiele. The artist depicted him in front of a blank surface and wearing a red garment that envelops him like a loose cloak. There are no objects to indicate the child’s age. Rather, his strikingly coarse hands appear much older than the sitter himself and contrast with the boy’s radiant, innocent gaze. Schiele painted The Reiner Boy together with a series of portraits that are all in a square format and share similar compositions. Paintinghttps://sammlungtest.belvedere.at/objects/3521/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/6063/fullMathilde Schönbergbefore summer 1907[Richard Gerstl]Richard GerstlTempera on canvasMathilde Schönberg (1877-1923) war die Gattin des Komponisten Arnold Schönberg (1874-1951).Paintinghttps://sammlungtest.belvedere.at/objects/3512/rdf/internal/media/dispatcher/115111/fullFlowering Poppies1907[Gustav Klimt]Gustav KlimtOil on canvasThis painting resembles a floral tapestry, a shimmering fabric of vibrant dabs, the red of the poppies standing out as the dominant color. There is no hint of sunlight nor shadow to be seen, only the occasional outlined tree, and a gray strip of sky above the high horizon. Klimt was inspired to paint works such as this by the luminous vibrancy of French Impressionism. But his poppy field does not convey a fleeting visual experience—far from it! Rather it exudes nature’s harmony and eternal validity. Klimt painted this work in the countryside surrounding the lake Attersee in Upper Austria, where he spent his summers after 1900.Paintinghttps://sammlungtest.belvedere.at/objects/3917/rdf/internal/media/dispatcher/36554/fullGirlfriends (Water Serpents I)1904 (minor amendments in 1907)[Gustav Klimt, Gustav Klimt, Unbekannter Besitz]Gustav Klimt Watercolour, gouache, pencil, gold, silver, platinum and brass on parchment Klimt’s aquatic beings, described by the artist as “water serpents” or “water nymphs,” seem bewitchingly detached from the real world. In dreamy, flowing movements they float above the ocean floor in the midst of golden seaweed. A glimmering fish stares out at us with a fixed gaze from the lower right of the picture. Influenced by the Symbolist art movement, the artist used these aquatic creatures to symbolize a mystical realm. Klimt created this work on parchment at the height of his Golden Period.Paintinghttps://sammlungtest.belvedere.at/objects/3828/rdf/internal/media/dispatcher/92484/fullView of Vienna from the Outer Burgtorafter 1902[Tina Blau, Maximilian Suppantschitsch]Maximilian SuppantschitschOil on cardboardEine große, von Suppantschitsch signierte Version dieser Komposition wurde am 18. Juni 2013 im Auktionshaus Im Kinsky versteigert.Paintinghttps://sammlungtest.belvedere.at/objects/3393/rdf/internal/media/dispatcher/83180/fullJudith1901[Gustav Klimt, Berthe Hodler, Anton Loew, Sophie Loew-Unger]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/117845/fullDuck Pondc. 1900[Olga Wisinger-Florian]Olga Wisinger-FlorianOil on cardboardPaintinghttps://sammlungtest.belvedere.at/objects/3845/rdf/internal/media/dispatcher/6908/fullCastle Wall in Plankenberg1887[Emil Jakob Schindler]Emil Jakob SchindlerOil on canvas on cardboardPaintinghttps://sammlungtest.belvedere.at/objects/3502/rdf/internal/media/dispatcher/6909/fullThe Meierei Meadow in Vorderbrühl with the Ruins at Mödling1885[Anton Romako]Anton RomakoOil on woodPaintinghttps://sammlungtest.belvedere.at/objects/3581/rdf/internal/media/dispatcher/6910/fullLandscape with Pond and Farmsc. 1885[Robert Russ]Robert RussOil on canvasPaintinghttps://sammlungtest.belvedere.at/objects/3794/rdf/internal/media/dispatcher/21122/fullWoman in Scarlet Dress with Newspaper and Ficus1884/1889[Anton Romako]Anton RomakoOil on canvasPaintinghttps://sammlungtest.belvedere.at/objects/3443/rdf/internal/media/dispatcher/153590/fullDance of Death on the Battlefield before Burning Ruinsc. 1882/1885[Anton Romako]Anton RomakoOil on woodPaintinghttps://sammlungtest.belvedere.at/objects/3784/rdf/internal/media/dispatcher/12535/fullThe Friends1880/1882[Anton Romako]Anton RomakoOil on woodPaintinghttps://sammlungtest.belvedere.at/objects/3415/rdf/internal/media/dispatcher/21123/fullHead of a Butcher’s Dogc. 1880/1882[Anton Romako]Anton RomakoOil on woodPaintinghttps://sammlungtest.belvedere.at/objects/3463/rdf/internal/media/dispatcher/138673/fullAdmiral Tegetthoff in the Naval Battle of Lissa I1878-1880[Anton Romako]Anton RomakoOil on woodUnperturbed by the billowing smoke and flying shrapnel, Rear Admiral Wilhelm von Tegetthoff (1827–1871) stands on the bridge. Sailors are keeping the ship on course, as we witness the moment before it sinks the Italian battleship Re d’Italia. Romako’s picture met with utter incomprehension. It included none of the customary features that would have glorified the Austrian naval victory: no sea, no flags, no burning ships. In fact, the opposite is the case. The Austrian flagship is barely more than implied. The battle itself is reflected in the figures, in Tegetthoff’s assurance of victory and in the energy and tense concentration of his officers and sailors. Paintinghttps://sammlungtest.belvedere.at/objects/3783/rdf/internal/media/dispatcher/6903/fullGastein Valley II1877[Anton Romako]Anton RomakoOil on woodPaintinghttps://sammlungtest.belvedere.at/objects/2960/rdf/internal/media/dispatcher/4528/fullOn the Thaya near Lundenburg I1877[Emil Jakob Schindler]Emil Jakob SchindlerOil on woodPaintinghttps://sammlungtest.belvedere.at/objects/3380/rdf/internal/media/dispatcher/7367/fullOn the Thaya near Lundenburg IIc. 1877/1880[Emil Jakob Schindler]Emil Jakob SchindlerOil on woodPaintinghttps://sammlungtest.belvedere.at/objects/3410/rdf/internal/media/dispatcher/19188/fullAus dem Kurpark in Tepliz1877[Rudolf von Alt]Rudolf von AltWatercolor, opaque white on paperDrawing arthttps://sammlungtest.belvedere.at/objects/3868/rdf/internal/media/dispatcher/50105/fullDutch Landscape with Farms1877[Rudolf Ribarz]Rudolf RibarzOil on woodPaintinghttps://sammlungtest.belvedere.at/objects/3918/rdf/internal/media/dispatcher/5936/fullRiver Landscape with Boatc. 1880[Eugen Jettel]Eugen JettelOil on canvasPaintinghttps://sammlungtest.belvedere.at/objects/3405/rdf/internal/media/dispatcher/113720/fullElisabeth von Nast-Kolb, née Hardegg1874[Anton Romako]Anton RomakoOil on woodPaintinghttps://sammlungtest.belvedere.at/objects/3788/rdf/internal/media/dispatcher/12191/fullGirl with a Chain of Pearls in Her Hairc. 1873/1876[Anton Romako]Anton RomakoOil on canvasPaintinghttps://sammlungtest.belvedere.at/objects/3414/rdf/internal/media/dispatcher/19064/fullSelf-Portrait1868[Hans Canon]Hans CanonOil on canvasPaintinghttps://sammlungtest.belvedere.at/objects/3460/rdf/internal/media/dispatcher/6819/fullThe Old Cupboard1860[Ferdinand Georg Waldmüller]Ferdinand Georg WaldmüllerOil on woodPaintinghttps://sammlungtest.belvedere.at/objects/3697/rdf/internal/media/dispatcher/47435/fullEquestrian Statuette of Archduke Carl with a Flagc. 1860[Anton Dominik von Fernkorn]Anton Dominik von FernkornBronzeReduktion nach dem Original am Wiener Heldenplatz.Sculpturehttps://sammlungtest.belvedere.at/objects/3536/rdf/internal/media/dispatcher/16014/fullThe Palü Glacierc. 1855/1860[Anton Hansch]Anton HanschOil on canvasPaintinghttps://sammlungtest.belvedere.at/objects/3471/rdf/internal/media/dispatcher/9126/fullBlick aus der Wohnung des Künstlers auf das Palais Coburgundated[Cecil van Haanen]Cecil van HaanenOil on cardboardPaintinghttps://sammlungtest.belvedere.at/objects/3777/rdf/internal/media/dispatcher/13126/fullMan in Black Frockcoat and White Waistcoat1841[Ferdinand Georg Waldmüller]Ferdinand Georg WaldmüllerOil on woodPaintinghttps://sammlungtest.belvedere.at/objects/3455/rdf/internal/media/dispatcher/19189/fullThe Old Korneuburg Town Hall1841[Rudolf von Alt]Rudolf von AltAquarell, Bleispuren auf PapierDrawing arthttps://sammlungtest.belvedere.at/objects/3885/rdf/internal/media/dispatcher/12524/fullThe Distraint1840[Peter Fendi]Peter FendiOil on cardboardPeter Fendi’s painting shows a sparse room that is home to a family of seven. The father—an artisan —evidently cannot pay the rent, which is why the judicial officer is in the process of distraining property, aided by a policeman and an assistant. The foreboding finger pointing to the door leaves little doubt as to the desperate tenants’ future fate. In this work, Fendi was addressing the constant deterioration in social conditions faced by Vienna’s population since the 1830s. Industrialization had resulted in the disappearance of numerous jobs and professions. Many people’s lives were threatened by poverty and debt as a result. Paintinghttps://sammlungtest.belvedere.at/objects/3880/rdf/internal/media/dispatcher/15654/fullMan in Blue Jacket and White Waistcoat1838[Johann Baptist Reiter]Johann Baptist ReiterOil on woodPaintinghttps://sammlungtest.belvedere.at/objects/3785/rdf/internal/media/dispatcher/6861/fullFarmer’s Wife from Ramsau at the Spinning Wheelc. 1836[Franz Eybl]Franz EyblOil on paper on woodPaintinghttps://sammlungtest.belvedere.at/objects/3698/rdf/internal/media/dispatcher/84242/fullPortrait of the Young Joseph Hasslwanderundated[Joseph Hasslwander]Joseph HasslwanderOil on paper on canvasPaintinghttps://sammlungtest.belvedere.at/objects/3272/rdf/internal/media/dispatcher/52633/fullYoung Lady1829[Michael Neder]Michael NederOil on canvasPaintinghttps://sammlungtest.belvedere.at/objects/3849/rdf/internal/media/dispatcher/144150/fullRudolf von Habsburg and the Priest1828[Ludwig Ferdinand Schnorr von Carolsfeld]Ludwig Ferdinand Schnorr von CarolsfeldOil on canvasRudolf von Habsburg, der Begründer der Dynastie, zählte im frühen 19. Jahrhundert zu den bedeutendsten Figuren der vaterländischen Geschichte. Sein Leben wurde in Gedichten besungen, in Erzählungen geschildert, als Drama bearbeitet (Franz Grillparzer, König Ottokars Glück und Ende, uraufgeführt 1825) und in Gemälden veranschaulicht. Die beliebteste Szene war Rudolfs Begegnung im düsteren Wald mit dem Priester, dem er sein Pferd überließ, sodass dieser mit den Sterbesakramenten rascher zu einem Kranken gelangen konnte. Diese bereits zu Lebzeiten des Habsburgers kursierende Legende war von Friedrich von Schiller aufgegriffen und 1803 im Gedicht "Der Graf von Habsburg" neu formuliert worden. Die Veranschaulichung dieses Themas als Gemälde wurde von allerhöchster Stelle unterstützt, denn der Verweis auf die Eucharistie sollte die Nähe des Kaiserhauses zur katholischen Kirche demonstrieren. Diese Darstellung gehörte ursprünglich Erzherzog Carl, dem "Sieger von Aspern" (1809), und befand sich in der Weilburg im nahe Wien gelegenen Baden. — [Sabine Grabner 8/2009]Paintinghttps://sammlungtest.belvedere.at/objects/3580/rdf/internal/media/dispatcher/15652/fullPortrait of a Manbefore 1841[Michael Moritz Daffinger]Michael Moritz DaffingerOil on ivoryPaintinghttps://sammlungtest.belvedere.at/objects/3569/rdf/internal/media/dispatcher/12044/fullView from Hütteneckalm of Hallstätter See and Dachsteinc. 1838[Friedrich Loos]Friedrich LoosOil on woodPaintinghttps://sammlungtest.belvedere.at/objects/3909/rdf/internal/media/dispatcher/4030/fullYoung Man with Blue Neckscarfundated[Leopold Fertbauer]Leopold FertbauerOil on woodPaintinghttps://sammlungtest.belvedere.at/objects/3082/rdf/internal/media/dispatcher/16019/fullOn the Mergellina near Naples1815[Joseph Rebell]Joseph RebellOil on woodPaintinghttps://sammlungtest.belvedere.at/objects/4347/rdf/internal/media/dispatcher/7377/fullSmall Still Life with Flowers1805[Johann Baptist Drechsler]Johann Baptist DrechslerOil on canvasPaintinghttps://sammlungtest.belvedere.at/objects/3862/rdf/internal/media/dispatcher/115686/fullThe Holy Kinship1786[Martin Johann Schmidt]Martin Johann SchmidtOil on canvasPaintinghttps://sammlungtest.belvedere.at/objects/3781/rdf/internal/media/dispatcher/4040/fullA Hungarian Magnatec. 1790[Friedrich Heinrich Füger]Friedrich Heinrich FügerOil on canvasPaintinghttps://sammlungtest.belvedere.at/objects/3575/rdf/internal/media/dispatcher/4531/fullTheater Scene (Children Playing Soldiers?)c. 1780/1790[Franz Anton Maulbertsch]Franz Anton MaulbertschOil on paper, mounted on canvasPaintinghttps://sammlungtest.belvedere.at/objects/3517/rdf/internal/media/dispatcher/15651/fullThe Painter Martin Johann Schmidt1778[Paul Haubenstricker]Paul HaubenstrickerOil on sheet metalIn einem illustrierten Band blätternd, blickt Martin Johann Schmidt in Gedanken versunken auf die Seite. Möglicherweise holt er sich aus einem Buch Inspiration für ein in Arbeit befindliches Gemälde, in dessen Richtung er seinen Kopf gewendet hat. Es war im Barock gängige Praxis, dass Maler wie auch Bildhauer Werke berühmter Kollegen studiert haben, um durch gezielte Übernahmen ihre eigenen Erzeugnisse zu bereichern. Dieses Prinzip galt damals als Vorzug und die Künstler konnten dadurch ihren Bildungshorizont demonstrieren. Und diesen muss der Kremser Schmidt auf jeden Fall gehabt haben, denn aus dem Verlassenschaftsinventar geht nicht nur hervor, dass er über eine umfangreiche Gemäldesammlung, sondern auch über rund 12000 Kupferstiche verfügt hat. — Obgleich der zum Entstehungszeitpunkt des Porträts 60 Jahre alte und überaus geschätzte Maler eine Perücke trägt, mutet das Ambiente privat an, und er scheint sich unbeobachtet zu fühlen. Diese Vertraulichkeit ist wohl auch dadurch zu begründen, dass der ausführende Künstler – Paul Haubenstricker – ein Schüler des Kremser Schmidt war. Dieser fertigte nach dem kleinen Bild auch eine Radierung an, ebenso wie der Lambacher Benediktinerpater Koloman Fellner, der ebenfalls zum Schülerkreis zu zählen ist. [Georg Lechner, 3/2020]Paintinghttps://sammlungtest.belvedere.at/objects/3525/rdf/internal/media/dispatcher/17063/fullMaria Rosa Hagenauer, née Barduccic. 1780[Leonhard Posch]Leonhard PoschPale pink wax sculpture on a slate plateArts and craftshttps://sammlungtest.belvedere.at/objects/3495/rdf/internal/media/dispatcher/115693/fullAndrew the Apostlec. 1775[Martin Johann Schmidt]Martin Johann SchmidtOil on canvasPaintinghttps://sammlungtest.belvedere.at/objects/3782/rdf/internal/media/dispatcher/15718/fullMountain Landscape with Fishermanc. 1770/1780[Johann Christian Brand]Johann Christian BrandOil on woodPaintinghttps://sammlungtest.belvedere.at/objects/3819/rdf/internal/media/dispatcher/158133/fullAnnunciation to Maryc. 1766/1767[Franz Anton Maulbertsch]Franz Anton MaulbertschOil on canvas Many altarpieces by Maulbertsch are to this day in their original locations. But this example, originally from the chapel in Schloss Thürnthal in Lower Austria, entered the Belvedere’s collection in 1953. It shows Mary kneeling before and visibly moved by the Holy Scripture when the Archangel Gabriel suddenly appears to her. He points toward heaven and prophesies the birth of a son. Maulbertsch created this painting together with assistants from his workshop. It is thought that he painted the kneeling Mary, the angel of the Annunciation, and the cherub, while the remaining motifs were probably executed by artists from his workshop. Paintinghttps://sammlungtest.belvedere.at/objects/3466/rdf/internal/media/dispatcher/6530/fullStudy for an Altar to Saint Theresac. 1765/1770[Franz Sigrist d. Ä.]Franz Sigrist d. Ä.Oil grisaille on paperPaintinghttps://sammlungtest.belvedere.at/objects/3487/rdf/internal/media/dispatcher/14393/fullImmaculata, Worshiped by Angelsc. 1770[Unbekannter Künstler]Unbekannter KünstlerCast lead without chasing, gildedGezeigt wird hier eine von zwei Engeln adorierte Muttergottes, die auf der Weltkugel und gleichzeitig mit ihrem rechten Fuß auf dem Kopf der Schlange steht. Letztere symbolisiert die Erbsünde, die durch Maria besiegt wird. — Nach seiner Erwerbung wurde der Kruzifixus als ein Werk Franz Xaver Messerschmidts vorgestellt. Auch aufgrund der unpräziseren Modellierung im Vergleich mit gesicherten Werken des Künstlers erfolgte jedoch später die Bestimmung als ein Werk eines anonymen Bildhauers des 18. Jahrhunderts, der wahrscheinlich österreichischer Herkunft ist. Dieser Meinung schloss sich auch die Verfasserin der Messerschmidt-Monographie, Maria Pötzl-Malikova, an. — [Georg Lechner, 4/2009]Sculpturehttps://sammlungtest.belvedere.at/objects/3921/rdf/internal/media/dispatcher/4537/fullPortrait of Canon Wödlc. 1768[Martin Johann Schmidt]Martin Johann SchmidtOil on canvasPorträts kommen im Oeuvre des Kremser Schmidt nicht besonders häufig vor. Dieses nimmt jedoch innerhalb der österreichischen Kunst des 18. Jahrhunderts eine außergewöhnliche Position ein, weil der Künstler auf schmückendes Beiwerk verzichtet und die Darstellung auf den Menschen allein reduziert hat. Dies steht etwa im Gegensatz zu den Repräsentationsbildnissen im Stil von Martin van Meytens d.J., die damals weit verbreitet waren. Kompositorisch dürfte sich der Kremser Schmidt im vorliegenden Fall an der venezianischen Kunst orientiert haben, wobei etwa auf Porträts von Jacopo Tintoretto zu verweisen ist. — [Georg Lechner, 1/2019]Paintinghttps://sammlungtest.belvedere.at/objects/3912/rdf/internal/media/dispatcher/28664/fullPortrait of a Girlundated[Friedrich Heinrich Füger]Friedrich Heinrich FügerOil on paperPaintinghttps://sammlungtest.belvedere.at/objects/3548/rdf/internal/media/dispatcher/4534/fullAllegory on the Training of a Gentlemanc. 1750/1755[Franz Anton Maulbertsch]Franz Anton MaulbertschOil on canvasVermutlich handelt es sich hierbei um einen Entwurf für die Bilderfolge der 1752 errichteten und nicht mehr erhaltenen Ingenieur-(Kriegs-)Akademie auf der Laimgrube oder für das "Löwenburgische Konvikt" (heutiges Piaristengymnasium) in Wien. — [Georg Lechner, 4/2010]Paintinghttps://sammlungtest.belvedere.at/objects/3795/rdf/internal/media/dispatcher/14329/fullHovering Angel with Basket and Puttoundated[Giovanni Giuliani]Giovanni GiulianiWood, painted and gildedSculpturehttps://sammlungtest.belvedere.at/objects/3472/rdf/internal/media/dispatcher/134452/fullHoly Apostlec. 1515[Bildschnitzer des Bodenseegebiets]Bildschnitzer des BodenseegebietsLimewood, traces of the ground, formerly polychromedSculpturehttps://sammlungtest.belvedere.at/objects/3910/rdf/internal/media/dispatcher/49596/fullJoseph Cast into the Wellbefore 1497/1498[Michael Pacher]Michael PacherPainting on Swiss stone pineZugehörige Tafeln: Inv.-Nr. 4845, 4846Paintinghttps://sammlungtest.belvedere.at/objects/3571/rdf/internal/media/dispatcher/5791/fullSt Gilesc. 1490[Bayerischer Modelleur]Bayerischer ModelleurPottery, traces of original polychromy, gildedSculpturehttps://sammlungtest.belvedere.at/objects/3919/rdf