<?xml version="1.0" encoding="UTF-8"?>
<object xmlns:xs="//www.w3.org/2001/XMLSchema"><NoAIdisclaimer>[PLATZHALTERTEXT]Vervielfältigungen eines Werkes dieser Webseite für Text- und Data-Mining und damit insbesondere für das Training einer Künstlichen Intelligenz bleibt ausdrücklich vorbehalten (§ 42h Abs 6 UrhG).</NoAIdisclaimer><field label="PrimaryMedia" name="primaryMedia"><value>/internal/media/dispatcher/118781/full</value></field><field label="Title" name="title"><value>Fritza Riedler</value></field><field label="Date" name="displayDate"><value>1906</value></field><field label="Dimensions" name="dimensions"><value>153 × 133 cm</value></field><field label="Medium" name="medium"><value>Oil on canvas</value></field><field label="Inventory number" name="invno"><value>3379</value></field><field label="On View" name="onview"><value>1</value></field><field label="Description" name="description"><value>
Dignified, reserved, and majestic, Fritza Riedler (1860–1927), the wife of a wealthy mechanical engineer, sits in a chair as if enthroned. The delicate features of her pale face stand in striking contrast to her dark hair. There is not a flicker of expression on her face, not the slightest stirring to provide a glimpse of the sitter’s inner self. Gustav Klimt combines the naturalistic depiction of his model with a background dissolved into ornamentation. Even the chair is transformed into an ornament composed of wavy lines and ancient Egyptian eye motifs. This interplay between depth and an emphasis on the picture plane characterizes Klimt’s work from his so-called Golden Period. </value></field><field label="Genre" name="classification"><value>Painting</value></field><field label="Id" name="id"><value>10192554</value></field><field label="Source ID" name="sourceId"><value>2177</value></field><field label="Location" name="locationssite"><value>Upper Belvedere</value></field><field name="iiifManifest"><value>https://sammlungtest.belvedere.at/apis/iiif/presentation/v2/1-objects-2177/manifest</value></field></object>