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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/4856/full</value></field><field label="Title" name="title"><value>White Poplars</value></field><field label="Alternative Title" name="title2"><value>Weiden</value></field><field label="Date" name="displayDate"><value>1900</value></field><field label="Dimensions" name="dimensions"><value>68 x 84,4 cm</value></field><field label="Medium" name="medium"><value>Oil on canvas</value></field><field label="Inventory number" name="invno"><value>433g</value></field><field label="On View" name="onview"><value>0</value></field><field label="Description" name="description"><value>
Two mighty poplars extend to the picture’s edges and define the composition: Adolf Holzel presents a textbook painting for his theory of balanced design—he formalizes landscape. Holzel studied painting in Vienna and Munich from 1872 to 1882. In 1887 he settled in Dachau near Munich and established a flourishing painting school. Students included German Expressionist Emil Nolde and Austrian artist Emilie Mediz-Pelikan. Holzel was a close friend of Viennese painter Carl Moll and a founding member of the Vienna Secession in 1897. He is seen as an important pioneer of abstract art.</value></field><field label="Genre" name="classification"><value>Painting</value></field><field label="Id" name="id"><value>10195150</value></field><field label="Source ID" name="sourceId"><value>6165</value></field><field name="iiifManifest"><value>https://sammlungtest.belvedere.at/apis/iiif/presentation/v2/1-objects-6165/manifest</value></field></object>