13/internal/media/dispatcher/5989/fullCrouching Woman1900-1901[Max Klinger]Max KlingerMarble Around 1900, when creating this marble figure, Max Klinger likely looked to the "Crouching Aphrodite", a 3rd-century BCE Greek sculpture. Like its ancient prototype, Klinger's female figure adopts a posture that appears labored, with her body and arms twisting in a way that feels almost unnatural. Equally unusual and distinctly modern is the rough-cut stone slab beneath her feet, on which she balances precariously. Though best known for his masterful sculptures in marble, Klinger also worked in metal and was highly accomplished as both a painter and printmaker.Sculpturehttps://sammlungtest.belvedere.at/objects/1118/rdf/internal/media/dispatcher/21859/fullChrist on Olympus1897[Max Klinger]Max KlingerOil on canvasPaintinghttps://sammlungtest.belvedere.at/objects/6166/rdf/internal/media/dispatcher/51186/fullThe Judgment of Paris1885-1887[Max Klinger]Max KlingerOil on canvas, framing in wood and plaster The goddesses Venus, Athena, and Hera approach the shepherd Paris without a hint of bashfulness. They present their bodies and gaze steadily at Paris and Hermes, the messenger of the gods. Hermes takes it all in his stride, pausing for a moment in a self-absorbed athletic pose. Paris, on the other hand, seems to recoil from such an obvious display of femininity—just like the male audience around 1900. Most men were left feeling “absolutely alien and uncomprehending” when faced with this painting, as the work’s first owner Alexander Hummel wrote, whereas it was genuinely admired by women. Klinger showed the goddesses exuding self-confidence rather than in lascivious poses. And confronted with so much self-assurance, the male world simply had to capitulate. Paintinghttps://sammlungtest.belvedere.at/objects/6167/rdf/internal/media/dispatcher/134815/fullBeethoven1885 (first version), 1902 (monumental version), 1907 (reduction)[Max Klinger]Max KlingerBronzeSculpturehttps://sammlungtest.belvedere.at/objects/35291/rdf/internal/media/dispatcher/9053/fullArbeiter an einem Hausbauc. 1889[Max Klinger]Max KlingerOil on woodPaintinghttps://sammlungtest.belvedere.at/objects/2606/rdf/internal/media/dispatcher/154481/fullIntermezzi. Rad. Op. IV. 12 Compositionen. 18811881[Max Klinger]Max KlingerAquatintaradierungPrinthttps://sammlungtest.belvedere.at/objects/100855/rdf/internal/media/dispatcher/165953/fullSimplici Schreibstunde (Platte VII), aus Intermezzi. Rad. Op. IV. 12 Compositionen1881[Max Klinger]Max KlingerAquatintaradierungPrinthttps://sammlungtest.belvedere.at/objects/100862/rdf/internal/media/dispatcher/165955/fullSimplicius am Grabe des Einsiedlers (Platte VIII), aus Intermezzi. Rad. Op. IV. 12 Compositionen1881[Max Klinger]Max KlingerAquatintaradierungPrinthttps://sammlungtest.belvedere.at/objects/100863/rdf/internal/media/dispatcher/165957/fullSimplicius unter den Soldaten (Platte IX), aus Intermezzi. Rad. Op. IV. 12 Compositionen1881[Max Klinger]Max KlingerAquatintaradierungPrinthttps://sammlungtest.belvedere.at/objects/100864/rdf/internal/media/dispatcher/165959/fullSimplicius in der Waldeinöde (Platte X), aus Intermezzi. Rad. Op. IV. 12 Compositionen1881[Max Klinger]Max KlingerAquatintaradierungPrinthttps://sammlungtest.belvedere.at/objects/100865/rdf/internal/media/dispatcher/165961/fullGefallener Reiter (Platte XI), aus Intermezzi. Rad. Op. IV. 12 Compositionen1881[Max Klinger]Max KlingerAquatintaradierungPrinthttps://sammlungtest.belvedere.at/objects/100866/rdf/internal/media/dispatcher/9054/fullPortrait of a Manundated[Max Klinger]Max KlingerOil on cardboardPaintinghttps://sammlungtest.belvedere.at/objects/2656/rdf/internal/media/dispatcher/9055/fullWeiblicher Studienkopfundated[Max Klinger]Max KlingerOil on cardboardPaintinghttps://sammlungtest.belvedere.at/objects/2657/rdf