4/internal/media/dispatcher/70875/fullUpper Austrian Farmhouse1911[Gustav Klimt, Galerie Miethke, Wien, Moderne Galerie]Gustav KlimtOil on canvasIt is as though we are standing beneath the apple tree ourselves, with the dense treetops towering over the view of the old farmhouse in the background. Gustav Klimt painted this picture during his summer retreat at the Attersee in 1911. Using a pointillist technique, he dissolved nature into numerous brushstrokes, while the house itself is rendered with clearly defined surfaces and contours. This gives the impression of a two-dimensional surface pattern, despite the spatial distance between the individual motifs. The blossoming and fertility of nature that so delighted Klimt, evident in the orchards and flower meadows of most of his landscapes, takes on the character of a natural symbolism that celebrates life in its prime.Paintinghttps://sammlungtest.belvedere.at/objects/380/rdf/internal/media/dispatcher/115111/fullFlowering Poppies1907[Gustav Klimt, Galerie Miethke, Wien, Viktor Zuckerkandl, Paula Zuckerkandl, Victor & Paula Zuckerkandl, Hans Gnad, Fritz und Gertrude Zuckerkandl, Österreichische Galerie, Rudolf Leopold, Amalie Zuckerkandl, Fritz Zuckerkandl]Gustav KlimtOil on canvasThis painting resembles a floral tapestry, a shimmering fabric of vibrant dabs, the red of the poppies standing out as the dominant color. There is no hint of sunlight nor shadow to be seen, only the occasional outlined tree, and a gray strip of sky above the high horizon. Klimt was inspired to paint works such as this by the luminous vibrancy of French Impressionism. But his poppy field does not convey a fleeting visual experience—far from it! Rather it exudes nature’s harmony and eternal validity. Klimt painted this work in the countryside surrounding the lake Attersee in Upper Austria, where he spent his summers after 1900.Paintinghttps://sammlungtest.belvedere.at/objects/3917/rdf/internal/media/dispatcher/36554/fullGirlfriends (Water Serpents I)1904 (minor amendments in 1907)[Gustav Klimt, Gustav Klimt, Galerie H. O. Miethke, Karl Wittgenstein, Unbekannter Besitz, Galerie L. T. Neumann, Belvedere]Gustav Klimt Watercolour, gouache, pencil, gold, silver, platinum and brass on parchment Klimt’s aquatic beings, described by the artist as “water serpents” or “water nymphs,” seem bewitchingly detached from the real world. In dreamy, flowing movements they float above the ocean floor in the midst of golden seaweed. A glimmering fish stares out at us with a fixed gaze from the lower right of the picture. Influenced by the Symbolist art movement, the artist used these aquatic creatures to symbolize a mystical realm. Klimt created this work on parchment at the height of his Golden Period.Paintinghttps://sammlungtest.belvedere.at/objects/3828/rdf/internal/media/dispatcher/3990/fullAllegory of Sacred Music (Female Organ Player)1884[Gustav Klimt, Gustav Klimt, Galerie Miethke, Wien, k. k. Österreichische Staatsgalerie]Gustav KlimtOil on canvas A female organist, dressed in a luxurious blue silk robe, kneels before her instrument. The figure is accompanied by a cittern-playing angel hovering just above her head, as well as a pair of singing cherubs. This sketch was made in preparation for a ceiling fresco for the Municipal Theater in Fiume (Rijeka), which was to be executed the following year by the studio of the Klimt brothers and Franz Matsch. The proposed theme was a cycle of allegories on the various genres of music. Klimt’s design is an allegory of sacred music. The figure’s kneeling posture symbolizes the sanctified aspect and transforms the organ into an altar. The musician’s transfigured gaze toward the heavens is also indicative of this.Paintinghttps://sammlungtest.belvedere.at/objects/471/rdf