30/internal/media/dispatcher/9168/fullAncient Tragedy1964[Paul Meissner]Paul MeissnerSynthetic resin on hardboardPaintinghttps://sammlungtest.belvedere.at/objects/9449/rdf/internal/media/dispatcher/5818/fullNight1961[Max Weiler]Max WeilerTempera on canvasPaintinghttps://sammlungtest.belvedere.at/objects/9516/rdf/internal/media/dispatcher/11985/fullStehender männlicher und liegender weiblicher Akt1959[Giselbert Hoke]Giselbert HokeOil on canvasPaintinghttps://sammlungtest.belvedere.at/objects/1777/rdf/internal/media/dispatcher/15431/fullBathsheba III1958[Carl Unger]Carl UngerOil on canvasPaintinghttps://sammlungtest.belvedere.at/objects/9353/rdf/internal/media/dispatcher/9551/fullHarbor of Sanary1957[Carl Unger]Carl UngerOil on canvasPaintinghttps://sammlungtest.belvedere.at/objects/9018/rdf/internal/media/dispatcher/17944/fullStrukturen. Rot auf Grau1957[Max Weiler]Max WeilerOil on canvasPaintinghttps://sammlungtest.belvedere.at/objects/9338/rdf/internal/media/dispatcher/18006/fullSouthern Seaport1956[Gustav Kurt Beck]Gustav Kurt BeckOil on canvas Beck’s major work is dominated by blues and grays. Clear outlines define a network of concise shapes: irregular squares, rectangles, and a few circles. Although the title suggests a specific motif, the geometric composition is actually more reminiscent of a map or a city plan. Port in the South shows the abstract approach of a major artist from Austria’s postwar avant-garde. The work attests to a tentative departure into modern art, which took it all the way to the documenta in Kassel, the world’s most important art exhibition. Nevertheless, to this day art history often fails to give Beck his due recognition. Paintinghttps://sammlungtest.belvedere.at/objects/9130/rdf/internal/media/dispatcher/6008/fullStanding Figure and Seated Figure1956[Maria Lassnig]Maria LassnigOil on fiberboardPaintinghttps://sammlungtest.belvedere.at/objects/9209/rdf/internal/media/dispatcher/19084/fullFigure1955[Maria Lassnig]Maria LassnigOil on hardboardPaintinghttps://sammlungtest.belvedere.at/objects/9123/rdf/internal/media/dispatcher/12815/fullColor Experiment “Composition 55”1955[Wolfgang Hollegha]Wolfgang HolleghaOil on canvasPaintinghttps://sammlungtest.belvedere.at/objects/9202/rdf/internal/media/dispatcher/12712/fullEngel über Berglandschaft1954[Max Weiler]Max WeilerEgg tempera on canvasPaintinghttps://sammlungtest.belvedere.at/objects/9226/rdf/internal/media/dispatcher/15622/fullDanube Landing (Danube Landscape with Railway Bridge)1953[Carl Unger]Carl UngerOil on canvasPaintinghttps://sammlungtest.belvedere.at/objects/9229/rdf/internal/media/dispatcher/28662/full167 The City1953[Friedensreich Hundertwasser]Friedensreich HundertwasserOil and casein on hardboardPaintinghttps://sammlungtest.belvedere.at/objects/9467/rdf/internal/media/dispatcher/140349/fullKinderspiele1953[Max Weiler]Max WeilerOil on canvasPaintinghttps://sammlungtest.belvedere.at/objects/9517/rdf/internal/media/dispatcher/8986/fullSchwebende Kugeln1952[Hans Strigl]Hans StriglOil on cardboardPaintinghttps://sammlungtest.belvedere.at/objects/3437/rdf/internal/media/dispatcher/5979/fullFlying Woodpecker II1950[Herbert Boeckl]Herbert BoecklOil on canvasPaintinghttps://sammlungtest.belvedere.at/objects/4233/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/internal/media/dispatcher/12729/fullHerbstblumenstrauß1949[Max Weiler]Max WeilerOil on canvas In a career that spanned around seven decades, Max Weiler, one of the most eminent Austrian painters of the twentieth century, produced an extensive oeuvre of paintings, works on paper, and large-format murals in public settings. The experience of nature and its spiritual dimension were pivotal to the Tyrolean artist’s work. The still life “Autumn Bouquet” dates from 1949. It marks the transition from representational painting to a style that emphasizes the expressive gesture. The muted palette of the abstractly rendered flowers and the somber gray backdrop suggest the season’s fading of natural beauty.Paintinghttps://sammlungtest.belvedere.at/objects/3364/rdf/internal/media/dispatcher/11973/fullForest Edge1949[Carl Unger]Carl UngerOil on canvasPaintinghttps://sammlungtest.belvedere.at/objects/7239/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/124357/fullEl Velorio (The Wake)1946[Wolfgang Paalen]Wolfgang PaalenOil on canvasPaintinghttps://sammlungtest.belvedere.at/objects/9541/rdf/internal/media/dispatcher/142841/fullDiving Bird1939[Erika Giovanna Klien]Erika Giovanna KlienOil on canvas Erika Giovanna Klien was one of the most important exponents of Viennese Kineticism. Her works are characterized by depictions of sequences of movement composed out of geometric forms. On the threshold between non-representational and figurative art, Diving Bird evokes the impression of a smooth wingbeat by capturing each moment of the bird’s swoop in a fanned array of forms and colors. Movement is dissected into its separate stages as if seen in slow motion. Rhythm, speed, and motion remained key themes in Klien’s art after she emigrated to the USA in 1929. It was here that she created her Diving Bird in 1939. Paintinghttps://sammlungtest.belvedere.at/objects/10373/rdf/internal/media/dispatcher/3586/fullAbstract Composition1938[Kurt Weber]Kurt WeberOil on canvasPaintinghttps://sammlungtest.belvedere.at/objects/1665/rdf/internal/media/dispatcher/6011/fullFishermen in a storm1935[Kurt Weber]Kurt WeberOil on canvas, mounted fiberboardPaintinghttps://sammlungtest.belvedere.at/objects/9217/rdf/internal/media/dispatcher/144033/fullUntitledc. 1931[Wolfgang Paalen]Wolfgang PaalenOil on canvasPaintinghttps://sammlungtest.belvedere.at/objects/9540/rdf/internal/media/dispatcher/164892/fullAbstract Composition1923/1924[Erika Giovanna Klien]Erika Giovanna KlienOil on canvas on cardboardPaintinghttps://sammlungtest.belvedere.at/objects/4838/rdf/internal/media/dispatcher/92818/fullRinaldo and Armida1923[Alfred Wickenburg]Alfred WickenburgOil on canvasThe subject of Alfred Wickenburg’s painting is a scene from the 1574 Italian epic poem Jerusalem Delivered in which the Saracen sorceress Armida falls in love with the Christian knight Rinaldo. The painter translates this encounter into a geometric, cubic visual language defined by diagonals and rhombuses, precise contours, and vibrant colors. The composition thus reveals strong similarities with Czech Cubism. Above all, it reflects Wickenburg’s exact knowledge of Adolf Hölzel’s theories and the particular significance of the Golden Section as a design principle. Paintinghttps://sammlungtest.belvedere.at/objects/9250/rdf/internal/media/dispatcher/70819/fullThe Annunciation1922[Maximilian Reinitz]Maximilian ReinitzOil on canvasPaintinghttps://sammlungtest.belvedere.at/objects/5077/rdf/internal/media/dispatcher/19076/fullTwo Figuresundated[Maria Lassnig]Maria LassnigOil on cardboardPaintinghttps://sammlungtest.belvedere.at/objects/9196/rdf