7/internal/media/dispatcher/19616/fullNight1954/1957[Traute Zemb-Wolsegger]Traute Zemb-WolseggerOil on canvasPaintinghttps://sammlungtest.belvedere.at/objects/9120/rdf/internal/media/dispatcher/10628/fullNachtbild (Nacht im Gebirge)1954[Traute Zemb-Wolsegger]Traute Zemb-WolseggerOil on fibreboardPaintinghttps://sammlungtest.belvedere.at/objects/9169/rdf/internal/media/dispatcher/24274/fullHead1954[Joannis Avramidis]Joannis AvramidisÖl-Mischtechnik auf Leinwand auf HolzfaserplattePaintinghttps://sammlungtest.belvedere.at/objects/9216/rdf/internal/media/dispatcher/15774/fullFemale Torso1953[Joannis Avramidis]Joannis AvramidisBronzeSculpturehttps://sammlungtest.belvedere.at/objects/9190/rdf/internal/media/dispatcher/15768/fullStanding Figure1951[Josef Pillhofer]Josef PillhoferBronzeSculpturehttps://sammlungtest.belvedere.at/objects/9049/rdf/internal/media/dispatcher/5872/fullBicyclist1951[Josef Pillhofer]Josef PillhoferBronzeSculpturehttps://sammlungtest.belvedere.at/objects/9058/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