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<rdf:RDF xmlns:schema="https://schema.org/" xmlns:rdf="https://www.w3.org/1999/02/22-rdf-syntax-ns#"><schema:VisualArtwork><schema:image>/internal/media/dispatcher/4754/full</schema:image><schema:name>The Bavarian Lieutenant-General, Baron Clemens von Raglovich</schema:name><schema:dateCreated>c. 1813</schema:dateCreated><schema:creator>[Barbara Krafft]</schema:creator><schema:creator>Barbara Krafft</schema:creator><schema:artMedium>Oil on canvas</schema:artMedium><schema:description>
Clemens von Raglovich (1766–1836) has his eye on something or someone -  probably an adversary. He is watching him alertly. Intuitively he reaches for his dagger, which - like the rival and the soldier’s hands - Krafft has chosen not to show. Fundamental narrative elements are thus left out of the composition. It is precisely in this omission that the picture’s strength lies: nothing distracts our attention from the sitter. With his head turned to the left and his arms pointing in the opposite direction, the pose lends the figure a certain dynamism that symbolizes his mettle and resolve far beyond the scene depicted in the painting. Barbara Krafft is one of the few better-known female artists of the period around 1800. As a woman she was prohibited from studying at an academy, so she was taught by her father who was also a painter. She first exhibited at the Vienna academy in 1786 and became a member, which did not contravene the studying ban. She soon came to be a prestigious portrait painter and confidently signed her depiction of Raglovich “Barbara Krafft pin[xit].”</schema:description><schema:artForm>Painting</schema:artForm><schema:url>https://sammlungtest.belvedere.at/objects/656/rdf</schema:url></schema:VisualArtwork></rdf:RDF>