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<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/58006/full</value></field><field label="Title" name="title"><value>Belvedere Heliograms</value></field><field label="Date" name="displayDate"><value>2012</value></field><field label="Dimensions" name="dimensions"><value>33 × 47 cm</value></field><field label="Medium" name="medium"><value>Silver toned silver gelatin print, mounted to aluminum</value></field><field label="Inventory number" name="invno"><value>10887/6</value></field><field label="On View" name="onview"><value>0</value></field><field label="Description" name="description"><value>In 2012, the American artist Lisa Oppenheim was invited to realize a project engaging with the Belvedere’s collection. For her “Belvedere Heliograms,” she isolated the depictions of the sun (“helios,” in Greek) in four historic works: Martino Altomonte’s “Apollo on the Solar Chariot” (1716), Anton Romako’s “Italian Fisherman’s Child” (ca. 1873), Egon Schiele’s “Four Trees” (1917), and Oskar Kokoschka’s “The Port in Prague” (1936). The technique Oppenheim used to make the series likewise gestures toward the power of the sun—she exposed the twenty-six photograms under daylight at different times of day, allowing the varying intensity of the sun’s rays to influence the final look of the resulting pictures.</value></field><field label="Genre" name="classification"><value>Photography</value></field><field label="Id" name="id"><value>9988229</value></field><field label="Source ID" name="sourceId"><value>36560</value></field><field name="iiifManifest"><value>https://sammlungtest.belvedere.at/apis/iiif/presentation/v2/1-objects-36560/manifest</value></field></object>