200/internal/media/dispatcher/86210/fullMedicine1903/1904[Gustav Klimt, Graphische Lehr- und Versuchsanstalt]Graphische Lehr- und VersuchsanstaltPhotogravureDie Heliogravüre zeigt einen Zustand, der zwischen dem ersten Zustand 1901 und der letzten Überarbeitung 1907 liegt und entspricht weitestgehend dem Zustand während der Klimt-Ausstellung der Secession 1903. Da das Gegenstück, die Heliogravüre der "Philosophie" bereits im Juli1904 ausgestellt war, muss auch für die Heliogravüre der Medizin eine Entstehung vor diesem Zeitpunkt angenommen werden.Printhttps://sammlungtest.belvedere.at/objects/64100/rdf/internal/media/dispatcher/86211/fullPhilosophy1903/1904[Gustav Klimt, Graphische Lehr- und Versuchsanstalt]Graphische Lehr- und VersuchsanstaltPhotogravureDie Heliogravüre zeigt einen Zustand, der zwischen der ersten Fassung aus dem Jahr 1900 und der letzten Überarbeitung 1907 liegt. Er entspricht weitgehend dem Zustand während der Klimt-Ausstellung der Secession im Winter 1903/04. Gegenüber dieser Version sind nur geringfügige Änderungen am Kopf des "Wissens" festzustellen, sowie eine weibliche Aktfigur, die direkt oberhalb des Kopf des "Wissens" neu hinzugekommen ist. In der Photographischen Ausstellung 1904 im MAK Wien war diese Heliogravüre bereits ausgestellt, es kann deshalb von einer Entstehung der Aufnahme im Zuge der Klimt-Ausstellung 1903/04 ausgegangen werden.Printhttps://sammlungtest.belvedere.at/objects/64101/rdf/internal/media/dispatcher/5283/fullWoman in White1917/1918[Gustav Klimt, Hugo Koller, Österreichische Galerie, Gustav Klimt, Broncia Koller-Pinell, Galerie Welz, Wien]Gustav KlimtOil on canvas (unfinished) Lady in White is one of the unfinished paintings found in Gustav Klimt’s studio after his death. It is a good example of the painter’s approach in his late period: Klimt positioned his unknown model within the square canvas so as to form a diagonal that divides the picture space. This creates three sections in the composition, with the figure at the center, a light background on the left, and a dark surface opposite. While the visible brushwork is typical of Klimt’s late paintings, the pronounced flatness of the image is a characteristic of Viennese Jugendstil. Paintinghttps://sammlungtest.belvedere.at/objects/3080/rdf/internal/media/dispatcher/128260/fullJohanna Staude1917/1918[Johanna Staude, Gustav Klimt, Österreichische Galerie]Gustav KlimtOil on canvas Johanna Staude gazes back at us with shining blue eyes. Gustav Klimt shows the young woman against an orange-red background with a fashionable hairstyle and wearing a dress with a striking pattern. It is named after a Wiener Werkstätte fabric called „Blätter“ (Leaves) and was designed by Martha Albers, a graduate from the Vienna School of Applied Arts. Wrapped around the sitter’s throat is a feather boa that draws our attention to her face. This serene and simple composition was one of Klimt’s last female portraits. The painter was a friend of Johanna Staude and she probably modeled for him on repeated occasions. Address directories document that she was also a language teacher and artist.Paintinghttps://sammlungtest.belvedere.at/objects/4302/rdf/internal/media/dispatcher/52844/fullAmalie Zuckerkandl1913/14 (possibly also still in 1917) (unfinished)[Amalie und Otto Zuckerkandl, Amalie Zuckerkandl, Österreichische Galerie, Hermine Müller-Hofmann, Ferdinand Bloch-Bauer, Gustav Klimt]Gustav KlimtOil on canvas The sitter is Amalie Zuckerkandl, wife of the surgeon Otto Zuckerkandl and sister-in-law of the well-known writer Berta Zuckerkandl. This unfinished portrait clearly demonstrates Gustav Klimt’s method of working. As in all of his late portraits, his starting point was the face while the body and clothes are initially only indicated using sketchy strokes. Klimt was given the commission in 1913/14, but progress was interrupted when the Zuckerkandls moved house. In 1917 he resumed work on the portrait, yet it was never finished due to Klimt’s unexpected death early the following year. Amalie Zuckerkandl was left impoverished after the couple divorced. In 1942 she was deported by the Nazis and murdered at Bełžec extermination camp in Poland. Paintinghttps://sammlungtest.belvedere.at/objects/7488/rdf/internal/media/dispatcher/160632/fullBride1917/1918[Gustav Klimt]Gustav KlimtOil on canvas When Gustav Klimt died unexpectedly in February 1918, this colorful work was found unfinished on the easel in his studio. At the center of the painting is a young woman in blue, tilting her head dreamily toward the man on the left in the picture. He is surrounded by sensual, intertwined bodies, but he looks only at the woman by his side. There are still many puzzles surrounding this painting. Is Klimt exploring male desire? Or is the painting a symbol of a woman’s journey from child to adult and even to motherhood? Klimt depicted the relationship between man and woman one last time in this large allegorical work. The Bride was only added as the title after the artist’s death. Paintinghttps://sammlungtest.belvedere.at/objects/9020/rdf/internal/media/dispatcher/160537/fullAdam and Eve1916 - 1918[Gustav Klimt, Galerie Gustav Nebehay, Österreichische Galerie, Sonja Knips]Gustav KlimtOil on canvas (unfinished) Klimt rarely engaged with biblical subjects during his career. One of his last works, unfinished at his death, shows the first humans, Adam and Eve. He was not interested in the more traditional depiction of the Fall, however, instead focusing on the figure of Eve as the quintessential female. Adam has closed his eyes, intoxicated with love, as he tilts his head and nestles tenderly against Eve. But Eve is looking straight at us. The anemones on the ground are emblems of fertility; the leopard skin, meanwhile, was a symbol in ancient Greece of unbridled desire. In Klimt’s interpretation, then, it is Eve—and not the snake—who is the temptress.Paintinghttps://sammlungtest.belvedere.at/objects/3196/rdf/internal/media/dispatcher/118786/fullForester's House in Weissenbach on the Attersee I1914[Gustav Klimt]Gustav KlimtOil on canvasKlimt spent the summer of 1914 at this forester’s lodge situated at the southern end of the lake Attersee in Upper Austria. He captured his holiday home in two paintings. In this work, the tapestry of painted dabs dissolves the different objects into something immaterial. Two dark bushes frame the composition at the edges. The flowers, in all their vibrant splendor, convey Klimt’s passion for all that bloomed. In the last years of his life, he became particularly receptive to nature’s sensory appeal. He painted landscapes without people in which time seems to stand still. They are images of an earthly paradise in an eternal summer. The forester’s lodge still exists today. Paintinghttps://sammlungtest.belvedere.at/objects/83843/rdf/internal/media/dispatcher/97122/fullAvenue to Schloss Kammer1912[Österreichische Galerie, Paula Zuckerkandl, Gustav Klimt, Victor & Paula Zuckerkandl, Viktor Zuckerkandl]Gustav KlimtOil on canvas “I am longing to get away more than ever,” wrote Gustav Klimt at the beginning of August 1901 — away from the hot city for a sojourn by the lakes and mountains of Austria’s Salzkammergut. From 1900 to 1916 the artist spent several weeks each summer at the Attersee lake. This beautiful region inspired him and he painted intensively. Klimt depicted Schloss Kammer in a total of five paintings. At the end of an avenue of gnarled trees, the entrance and part of the yellow façade can be seen in the pictorial depths. Vibrant dabs of paint and bold contours reflect Klimt’s engagement with the international avant-garde, for example the work of Vincent van Gogh or Paul Cézanne that he had the chance to study at exhibitions in Vienna.Paintinghttps://sammlungtest.belvedere.at/objects/8691/rdf/internal/media/dispatcher/104888/fullEinladungskarte zur Nachfeier des 50. Geburtstags von Gustav Klimt1912[Gustav Klimt]Gustav KlimtFeder in schwarzer Tusche auf PapierKuvert: "Frau / Emilie Flöge / Wien / Mariahilferstraße 1.B." — Karte: "Herr Klimt und Fräulein / Emilie Flöge / wird gebeten, zu der Nachfeier des 50. Geburts- / tages unseres / Gustav Klimt / die der ihm befreundete Künstlerkreis am 9. No- / vember 1912, 8 Uhr Abends, Wien, III., Hauptstrasse / Nr. 138, 1. Stock 5, veranstaltet, zu erscheinen. / Kolo Moser / U.A.W.G." — Bei der Adresse handelt es sich um die Wohnadresse Koloman Mosers.Printhttps://sammlungtest.belvedere.at/objects/80443/rdf/internal/media/dispatcher/70875/fullUpper Austrian Farmhouse1911[Gustav Klimt, Galerie Miethke, Wien, Moderne Galerie, Wien]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/70896/fullSchloss Kammer on Lake Attersee III1911/1912[Österreichische Galerie, Gustav Ucicky, Österreichische Galerie, Ferdinand und Adele Bloch-Bauer, Gustav Klimt, Erich Führer, Ingeborg Anna Ucicky, Ferdinand Bloch-Bauer]Gustav KlimtOil on canvas “Arrived safely, forgot my opera glasses—need them badly,” Klimt reported to his sister Hermine in 1915 from his vacation home on Lake Attersee. The artist’s need during his summer vacation for optical aids—a telescope as well as opera glasses—becomes apparent from this painting: the lakeside facade of Schloss Kammer. Klimt probably captured it on canvas from the opposite shore using a telescope. The zoom effect causes the trees, the low front wing, and the red roof of the main building behind to appear as if on a single plane. With its softly out-of-focus reflections, the lake portion also appears to be part of the resulting two-dimensional image.Paintinghttps://sammlungtest.belvedere.at/objects/3112/rdf/internal/media/dispatcher/74291/fullPaula Zuckerkandl1911[Gustav Klimt]Gustav KlimtPencil on paperDrawing arthttps://sammlungtest.belvedere.at/objects/54849/rdf/internal/media/dispatcher/109704/fullMother with Two Children (Family)1909/1910[Gustav Klimt, Gustav Klimt, Österreichische Galerie, Richard Parzer, Helene Mayer]Gustav KlimtOil on canvas Exhausted, the young mother has drifted off to sleep, cradling her two small children in her arms. The family is wrapped in a pile of dark blankets that keep them warm and seem to merge with the undefined space around them. Only their sleeping faces seem to shine through the darkness. Are the three sitting in a dark room, or outside, or even on the street? Gustav Klimt’s contemporaries recognized the subjects as a family living on the fringes of society. The choice of subject is unusual in Klimt’s oeuvre, as he never addressed poverty in any other painting. Nevertheless, the timeless theme of the painting seems to be one of tender maternal love.Paintinghttps://sammlungtest.belvedere.at/objects/27315/rdf/internal/media/dispatcher/140353/fullThe Kiss (Lovers)1908 (finished 1909)[Ministerium für Kultus und Unterricht, Gustav Klimt, Moderne Galerie, Wien]Gustav KlimtFigures: gold leaf, silver leaf, platinum leaf, resin oil colors on primed canvas (zinc paint). – Background: Composition gold (brass), glazed, flakes of metal leaf “The Kiss”, probably Klimt’s most famous work, was painted at the height of his Golden Period without a direct commission. It shows a couple, melting into one, at the edge of a meadow of flowers. Only the different patterning of the robes distinguishes their bodies that are enveloped in a shimmering golden halo. Klimt actually used real gold leaf, silver, and platinum in his picture. He presumably started work on it in 1907 and exhibited the painting at the Kunstschau in June the following year under the title “Lovers”. From this show, the Ministry of Art purchased it for the Modern Gallery—now the Belvedere—for a price that was high even then. In autumn 1909, a catalogue of this museum cited the work for the first time as “The Kiss”, the title by which it is world famous today.Paintinghttps://sammlungtest.belvedere.at/objects/6678/rdf/internal/media/dispatcher/115111/fullFlowering Poppies1907[Rudolf Leopold, Amalie Zuckerkandl, Paula Zuckerkandl, Victor & Paula Zuckerkandl, Hans Gnad, Gustav Klimt, Viktor Zuckerkandl, Galerie Miethke, Wien, Österreichische Galerie]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/114741/fullSunflower1907/1908[Gustav Klimt, Österreichische Galerie, Gustav Klimt, Richard Parzer]Gustav KlimtOil and gold leaf on canvas Gustav Klimt shows a single, majestic sunflower in the middle of this square composition that is entirely covered by a green hedge resembling a patterned tapestry. The head of the sunflower inclines slightly, while its leaves seem to protectively curl over the dense array of bright summer flowers at its base. Time and again Klimt’s sunflower has been seen to have human characteristics, its form reminiscent of the medieval Virgin of Mercy sheltering figures under her cloak. The famous art critic from the Vienna Secession Ludwig Hevesi described it as a “fairy in love.” Others have even seen the sunflower as a hidden portrait of the designer Emilie Flöge.Paintinghttps://sammlungtest.belvedere.at/objects/21865/rdf/internal/media/dispatcher/118781/fullFritza Riedler1906[Österreichische Galerie, Fritza Riedler, Emilie Barbara Langer, Aloys Riedler, Gustav Klimt]Gustav KlimtOil on canvas Dignified, reserved, and majestic, Fritza Riedler (1860–1927), the wife of a wealthy mechanical engineer, sits in a chair as if enthroned. The delicate features of her pale face stand in striking contrast to her dark hair. There is not a flicker of expression on her face, not the slightest stirring to provide a glimpse of the sitter’s inner self. Gustav Klimt combines the naturalistic depiction of his model with a background dissolved into ornamentation. Even the chair is transformed into an ornament composed of wavy lines and ancient Egyptian eye motifs. This interplay between depth and an emphasis on the picture plane characterizes Klimt’s work from his so-called Golden Period. Paintinghttps://sammlungtest.belvedere.at/objects/2177/rdf/internal/media/dispatcher/114740/fullCottage Garden with Sunflowers1906[Karl Wittgenstein, Hermine Wittgenstein, Galerie Sanct Lucas, Gustav Klimt, Österreichische Galerie]Gustav KlimtOil on canvas Sunflowers and dahlias, marigolds, asters, and flame flowers. In this work, Klimt more than lives up to his reputation as the “artist of eternal flowering.” Against a backdrop of verdant green, he has filled the picture plane with a vibrant sea of flowers. This abundant, vivid array stirs memories of a radiant summer day. It transports us to a dream world beyond space and time, where flowers and leaves never wilt. One typical characteristic of Klimt’s landscape paintings is their square format. In order to find the perfect section of a scene, the painter used a viewfinder. “This is a hole cut into a piece of cardboard,” he explained in a letter to his lover Mizzi Zimmermann.Paintinghttps://sammlungtest.belvedere.at/objects/2483/rdf/internal/media/dispatcher/36554/fullGirlfriends (Water Serpents I)1904 (minor amendments in 1907)[Gustav Klimt, Unbekannter Besitz, Belvedere, Wien, Karl Wittgenstein, Galerie H. O. Miethke, Galerie L. T. Neumann, Gustav Klimt]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/83180/fullJudith1901[Gustav Klimt, Berthe Hodler, Sophie Loew-Unger, Österreichische Galerie, Anton Loew]Gustav KlimtOil and gold leaf on canvas The biblical story of the brave Judith has often been depicted in art. Judith, a chaste widow, gets the enemy commander Holofernes drunk with divine help, and then beheads him to free her people. Gustav Klimt interprets the Old Testament heroine as an erotic femme fatale. She gazes seductively at the viewer through half-closed eyes, her lips slightly parted. Only on closer inspection do we see the decapitated head of Holofernes. Judith holds it almost tenderly, as if to push it out of the picture. In Klimt’s painting there is no room for the male aggressor. He has transformed the biblical story of resistance in a political conflict into a battle of the sexes, and Judith’s triumph into a dangerously tantalizing icon of femininity.Paintinghttps://sammlungtest.belvedere.at/objects/3492/rdf/internal/media/dispatcher/3811/fullBeethoven Frieze: Longing for Happiness1901-1902[Gustav Klimt, Österreichische Galerie, Carl Reininghaus, August Lederer, Erich Lederer, Serena Lederer]Gustav KlimtKaseinfarben, Stuckauflagen, Zeichenstift, Applikationen aus verschiedenen Materialien (Glas, Perlmutt etc.), Goldauflagen auf Mörtel The Fourteenth Secession exhibition in 1902 was a Gesamtkunstwerk (total work of art) akin to a temple and was dedicated to Ludwig van Beethoven. Klimt created his Beethoven Frieze directly on the walls of the left side room. In this revolutionary work, the artist discarded any illusion of pictorial space. The human figure is no longer an individual but a symbolic bearer of meaning composed of lines and planes. Klimt’s pictorial program is based on Richard Wagner’s descriptive interpretation of Beethoven’s Ninth Symphony. It tells of humanity overcoming various perils in its quest for happiness. The subject of the final section in Klimt’s Beethoven Frieze is the coming together of humankind in the ideal realm of the arts.Paintinghttps://sammlungtest.belvedere.at/objects/4737/rdf/internal/media/dispatcher/29914/fullBeethoven Frieze: Longing for Happiness - Panel 1, left sidewall1901-1902[Gustav Klimt]Gustav KlimtKaseinfarben, Stuckauflagen, Zeichenstift, Applikationen aus verschiedenen Materialien (Glas, Perlmutt etc.), Goldauflagen auf MörtelDie Sehnsucht nach dem Glück wird von Klimt durch schwebende Frauengestalten (Genien) dargestellt. — [Markus Fellinger 2/2012]Paintinghttps://sammlungtest.belvedere.at/objects/10499/rdf/internal/media/dispatcher/29915/fullBeethoven Frieze: Longing for Happiness - Panel 2, left side wall1901-1902[Gustav Klimt]Gustav KlimtKaseinfarben, Stuckauflagen, Zeichenstift, Applikationen aus verschiedenen Materialien (Glas, Perlmutt etc.), Goldauflagen auf MörtelDie Sehnsucht nach dem Glück wird von Klimt durch schwebende Frauengestalten (Genien) dargestellt. — [Markus Fellinger 2/2012]Paintinghttps://sammlungtest.belvedere.at/objects/10500/rdf/internal/media/dispatcher/29918/fullBeethoven Frieze: "The Sufferings of Weak Humanity" and "The Well-Armed Strongman" (Panel 3, left side wall)1901-1902[Gustav Klimt]Gustav KlimtKaseinfarben, Stuckauflagen, Zeichenstift, Applikationen aus verschiedenen Materialien (Glas, Perlmutt etc.), Goldauflagen auf MörtelDie Leiden der schwachen Menschheit richten ihre Bitten an den wohlgerüsteten Starken, der als Ritter in goldener Rüstung dargestellt ist. Hinter ihm befinden sich die Personifikationen von Mitleid und Ehrgeiz. — [Markus Fellinger 2/2012]Paintinghttps://sammlungtest.belvedere.at/objects/10501/rdf/internal/media/dispatcher/29925/fullBeethoven Frieze: Longing for Happiness - Panel 4, left side wall1901-1902[Gustav Klimt]Gustav KlimtKaseinfarben, Stuckauflagen, Zeichenstift, Applikationen aus verschiedenen Materialien (Glas, Perlmutt etc.), Goldauflagen auf MörtelDie schwebenden Genien nehmen das Flehen der leidenden Menschheit auf und tragen es weiter in Richtung der feindlichen Gewalten. — [Markus Fellinger 2/2012]Paintinghttps://sammlungtest.belvedere.at/objects/10502/rdf/internal/media/dispatcher/29926/fullBeethoven Frieze: The Hostile Powers - Panel 5, short wall1901-1902[Gustav Klimt]Gustav KlimtKaseinfarben, Stuckauflagen, Zeichenstift, Applikationen aus verschiedenen Materialien (Glas, Perlmutt etc.), Goldauflagen auf MörtelDie feindlichen Gewalten: Der Gigant Typhoeus; seine Töchter, die drei Gorgonen; Krankheit, Wahnsinn und Tod; Wollust, Unkeuschheit und Unmäßigkeit. Sie bedrohen die Menschheit und führen zum Leid. Die schwebenden Genien sind aber dahinter erkennbar, sie werden von den Bedrohungen nicht berührt. — [Markus Fellinger 2/2012]Paintinghttps://sammlungtest.belvedere.at/objects/10503/rdf/internal/media/dispatcher/29939/fullBeethoven Frieze: The Hostile Powers - Panel 6, short wall1901-1902[Gustav Klimt]Gustav KlimtKaseinfarben, Stuckauflagen, Zeichenstift, Applikationen aus verschiedenen Materialien (Glas, Perlmutt etc.), Goldauflagen auf MörtelVor dem Schlangenkörper des Giganten Typhaeus hockt die Figur des "Nagenden Kummers". — [Markus Fellinger 2/2012]Paintinghttps://sammlungtest.belvedere.at/objects/10504/rdf/internal/media/dispatcher/29949/fullBeethoven Frieze: The Arts, Paradise Choir and The Embracement - Panel 8, right sidewall1901-1902[Gustav Klimt]Gustav KlimtKaseinfarben, Stuckauflagen, Zeichenstift, Applikationen aus verschiedenen Materialien (Glas, Perlmutt etc.), Goldauflagen auf MörtelNach einem leeren Wandfeld, das nicht erhalten geblieben ist, folgen die Figuren der "Künste". Sie führen in das "Ideale Reich", in dem allein reine Freude, reines Glück und reine Liebe existieren. Diese wird symbolisiert durch die Umarmung vor dem Paradieschor: "Freude schöner Götterfunke. Diesen Kuss der ganzen Welt!" — [Markus Fellinger 2/2012]Paintinghttps://sammlungtest.belvedere.at/objects/10528/rdf/internal/media/dispatcher/29943/fullBeethoven Frieze: The Longing for Happiness Finds Appeasement in Poetry - Panel 7, right sidewall1901-1902[Gustav Klimt]Gustav KlimtKaseinfarben, Stuckauflagen, Zeichenstift, Applikationen aus verschiedenen Materialien (Glas, Perlmutt etc.), Goldauflagen auf MörtelDie schwebenden Genien gelangen zur Figur der "Poesie", die als Sängerin mit Lyra dargestellt ist. Klimt adaptierte für diese Figur seine Darstellung der "Musik" für den Musiksalon des Palais Dumba (1945 verbrannt, eine 1895 datierte Ölstudie existiert in der Neuen Pinakothek in München). — [Markus Fellinger 2/2012]Paintinghttps://sammlungtest.belvedere.at/objects/10529/rdf/internal/media/dispatcher/4119/fullOld Man on his Death-Bed1900[Privatbesitz, Gustav Klimt, Österreichische Galerie]Gustav KlimtOil on millboard Depictions of the deceased appear frequently in Klimt’s oeuvre, but are usually not shown to the public due to the highly personal nature of the subject matter. In most cases, the people can be clearly identified. Not so in the case of this portrait, where the identity of the old man has yet to be fully determined and continues to puzzle scholars. Klimt often painted such portraits immediately after death, sometimes on the very day of the subject’s passing. This painting is dated 1900, which may indicate the year of the man’s death. The work was probably cropped, as only a fragment of the original composition is visible today.Paintinghttps://sammlungtest.belvedere.at/objects/9957/rdf/internal/media/dispatcher/48307/fullLetter from Gustav Klimt to Emilie Flöge27/4/1899[Gustav Klimt]Gustav KlimtPencil on paperArchive materialhttps://sammlungtest.belvedere.at/objects/35376/rdf/internal/media/dispatcher/48313/fullLetter from Gustav Klimt to Emilie Flögeafter 1899[Gustav Klimt]Gustav KlimtPen and black india ink on paperArchive materialhttps://sammlungtest.belvedere.at/objects/35377/rdf/internal/media/dispatcher/4073/fullAfter the Rain1898[Gustav Klimt, Ministerium für Kultus und Unterricht, Moderne Galerie, Wien, Vereinigung bildender Künstler Österreichs Secession]Gustav KlimtOil on canvasGustav Klimt spent his first summer vacation in the Salzkammergut region in August 1898. He resided for several weeks at Sankt Agatha near Steeg on Hallstatt Lake in the company of the Flöge family. During his stay, he created four landscape paintings, including After the Rain. Even in these early landscapes, Klimt’s soft brushwork, conveying a fleeting impression, attests that he was particularly influenced by the style of the French Impressionists. The artist also drew inspiration from Japanese woodblock prints. After the Rain was the first work by Klimt to enter the collection in 1900, three years before the opening of the Moderne Galerie at the Lower Belvedere.Paintinghttps://sammlungtest.belvedere.at/objects/6087/rdf/internal/media/dispatcher/17188/fullRed Sketchbook1898[Unbekannter Besitz, Gustav Klimt, Sonja Knips, Galerie Christian M. Nebehay, Wien, Österreichische Galerie]Gustav KlimtBooklet bound in red leather, drawings and notes in pencil and a black and white photo Gustav Klimt used this red leather-bound sketchbook beginning in 1898 to capture his spontaneous ideas, including sketches for the works Nuda Veritas (1899), Judith I (1901), Will-o’-the-Wisp (1903), Philosophy (1900), and Jurisprudence (1903). The booklet turned up in the estate of Sonja Knips, one of Klimt’s most prominent patrons. In her portrait, dated 1898, Knips can be seen holding the sketchbook. The artist probably presented it to her either during or immediately after the portrait sessions. Historical records suggest that Klimt used many red sketchbooks like this one, but almost all were lost in a fire at Emilie Flöge’s apartment in 1945.Drawing arthttps://sammlungtest.belvedere.at/objects/9997/rdf/internal/media/dispatcher/48300/fullLetter from Gustav Klimt to Emilie Flöge3/9/1898[Gustav Klimt]Gustav KlimtPen and black india ink on paperArchive materialhttps://sammlungtest.belvedere.at/objects/35375/rdf/internal/media/dispatcher/158505/fullCover red Sketchbook outside front1898[Gustav Klimt]Gustav KlimtBooklet bound in red leather, drawings and notes in pencil and a black and white photo Gustav Klimt used this red leather-bound sketchbook beginning in 1898 to capture his spontaneous ideas, including sketches for the works Nuda Veritas (1899), Judith I (1901), Will-o’-the-Wisp (1903), Philosophy (1900), and Jurisprudence (1903). The booklet turned up in the estate of Sonja Knips, one of Klimt’s most prominent patrons. In her portrait, dated 1898, Knips can be seen holding the sketchbook. The artist probably presented it to her either during or immediately after the portrait sessions. Historical records suggest that Klimt used many red sketchbooks like this one, but almost all were lost in a fire at Emilie Flöge’s apartment in 1945.Drawing arthttps://sammlungtest.belvedere.at/objects/103499/rdf/internal/media/dispatcher/158504/fullCover red Sketchbook inside front1898[Gustav Klimt]Gustav KlimtBooklet bound in red leather, drawings and notes in pencil and a black and white photoDatumsangaben 7. und 12. Sept[ember] mit ZahlenkolonneDrawing arthttps://sammlungtest.belvedere.at/objects/103500/rdf/internal/media/dispatcher/158506/fullPage 1 (blank page)1898[Gustav Klimt]Gustav KlimtBooklet bound in red leather, drawings and notes in pencil and a black and white photoDrawing arthttps://sammlungtest.belvedere.at/objects/103501/rdf/internal/media/dispatcher/158507/fullPage 2 (blank page)1898[Gustav Klimt]Gustav KlimtBooklet bound in red leather, drawings and notes in pencil and a black and white photoDrawing arthttps://sammlungtest.belvedere.at/objects/103502/rdf/internal/media/dispatcher/158508/fullPage 31898[Gustav Klimt]Gustav KlimtBooklet bound in red leather, drawings and notes in pencil and a black and white photoEntwurf zu einer nicht ausgeführten Komposition nach dem Bühnenstück „Frau Wahrheit will niemand beherbergen“ von Hans Sachs, der thematisch im Zusammenhang mit der Zeichnung (1897/98) und dem Gemälde (1899) der Nuda Veritas steht. Die offenbar nackte Frau Wahrheit hält einer Figurengruppe den Spiegel entgegen.Drawing arthttps://sammlungtest.belvedere.at/objects/103503/rdf/internal/media/dispatcher/158509/fullPage 4 (blank page)1898[Gustav Klimt]Gustav KlimtBooklet bound in red leather, drawings and notes in pencil and a black and white photoDrawing arthttps://sammlungtest.belvedere.at/objects/103504/rdf/internal/media/dispatcher/158510/fullPage 51898[Gustav Klimt]Gustav KlimtBooklet bound in red leather, drawings and notes in pencil and a black and white photoZweite Studie zu einer nicht ausgeführten Komposition nach dem Bühnenstück „Frau Wahrheit will niemand beherbergen“.Drawing arthttps://sammlungtest.belvedere.at/objects/103505/rdf/internal/media/dispatcher/158511/fullPage 6 (blank page)1898[Gustav Klimt]Gustav KlimtBooklet bound in red leather, drawings and notes in pencil and a black and white photoDrawing arthttps://sammlungtest.belvedere.at/objects/103506/rdf/internal/media/dispatcher/158512/fullPage 71898[Gustav Klimt]Gustav KlimtBooklet bound in red leather, drawings and notes in pencil and a black and white photoDrawing arthttps://sammlungtest.belvedere.at/objects/103507/rdf/internal/media/dispatcher/158513/fullPage 8 (blank page)1898[Gustav Klimt]Gustav KlimtBooklet bound in red leather, drawings and notes in pencil and a black and white photoDrawing arthttps://sammlungtest.belvedere.at/objects/103508/rdf/internal/media/dispatcher/158514/fullPage 91898[Gustav Klimt]Gustav KlimtBooklet bound in red leather, drawings and notes in pencil and a black and white photoDrawing arthttps://sammlungtest.belvedere.at/objects/103509/rdf/internal/media/dispatcher/158515/fullPage 10 (blank page)1898[Gustav Klimt]Gustav KlimtBooklet bound in red leather, drawings and notes in pencil and a black and white photoDrawing arthttps://sammlungtest.belvedere.at/objects/103510/rdf/internal/media/dispatcher/158516/fullPage 111898[Gustav Klimt]Gustav KlimtBooklet bound in red leather, drawings and notes in pencil and a black and white photoIm Vergleich zu dem im Frühjahr 1898 fertiggestellten Entwurfsgemälde ist links unten eine neue Figur angedeutet. Zu Füßen des Elternpaares deuten geschwungene Linien eine schleierhafte Struktur an.Drawing arthttps://sammlungtest.belvedere.at/objects/103511/rdf/internal/media/dispatcher/158517/fullPage 12 (blank page)1898[Gustav Klimt]Gustav KlimtBooklet bound in red leather, drawings and notes in pencil and a black and white photoDrawing arthttps://sammlungtest.belvedere.at/objects/103512/rdf/internal/media/dispatcher/158518/fullPage 131898[Gustav Klimt]Gustav KlimtBooklet bound in red leather, drawings and notes in pencil and a black and white photoOhne die Figurengruppe des „Werdens und Vergehens“ auf der linken Seite.Drawing arthttps://sammlungtest.belvedere.at/objects/103513/rdf/internal/media/dispatcher/158519/fullPage 14 (blank page)1898[Gustav Klimt]Gustav KlimtBooklet bound in red leather, drawings and notes in pencil and a black and white photoDrawing arthttps://sammlungtest.belvedere.at/objects/103514/rdf/internal/media/dispatcher/158520/fullPage 151898[Gustav Klimt]Gustav KlimtBooklet bound in red leather, drawings and notes in pencil and a black and white photoÄhnlich wie Seite 11.Drawing arthttps://sammlungtest.belvedere.at/objects/103515/rdf/internal/media/dispatcher/158521/fullPage 16 (blank page)1898[Gustav Klimt]Gustav KlimtBooklet bound in red leather, drawings and notes in pencil and a black and white photoDrawing arthttps://sammlungtest.belvedere.at/objects/103516/rdf/internal/media/dispatcher/158522/fullPage 171898[Gustav Klimt]Gustav KlimtBooklet bound in red leather, drawings and notes in pencil and a black and white photoMöglicherweise eine weitere Variante des Themas der „Frau Wahrheit“ wie die Skizzen auf den Seiten drei und fünf, bei der die Gegenüberstellung der Frau Wahrheit mit dem runden Handspiegel und der Menschengruppe zu einer symmetrisch-ornamentalen Umrahmung weiterentwickelt ist.Drawing arthttps://sammlungtest.belvedere.at/objects/103517/rdf/internal/media/dispatcher/158523/fullPage 18 (blank page)1898[Gustav Klimt]Gustav KlimtBooklet bound in red leather, drawings and notes in pencil and a black and white photoDrawing arthttps://sammlungtest.belvedere.at/objects/103518/rdf/internal/media/dispatcher/158524/fullPage 191898[Gustav Klimt]Gustav KlimtBooklet bound in red leather, drawings and notes in pencil and a black and white photoDrawing arthttps://sammlungtest.belvedere.at/objects/103519/rdf/internal/media/dispatcher/158525/fullPage 20 (blank page)1898[Gustav Klimt]Gustav KlimtBooklet bound in red leather, drawings and notes in pencil and a black and white photoDrawing arthttps://sammlungtest.belvedere.at/objects/103520/rdf/internal/media/dispatcher/158526/fullPage 211898[Gustav Klimt]Gustav KlimtBooklet bound in red leather, drawings and notes in pencil and a black and white photoDie Linien der schleierhaften Struktur erstreckt sich nun über die ganze Figurengruppe des „Werdens und Vergehens“ und deutet damit eine Bewegung und Verbindung an.Drawing arthttps://sammlungtest.belvedere.at/objects/103521/rdf/internal/media/dispatcher/158527/fullPage 22 (blank page)1898[Gustav Klimt]Gustav KlimtBooklet bound in red leather, drawings and notes in pencil and a black and white photoDrawing arthttps://sammlungtest.belvedere.at/objects/103522/rdf/internal/media/dispatcher/158528/fullPage 231898[Gustav Klimt]Gustav KlimtBooklet bound in red leather, drawings and notes in pencil and a black and white photoIdeenskizze zu einem wahrscheinlich nicht verwirklichten Gemälde. Im Zusammenhang mit der Reihe von Zeichnungen und Gemälden von anonymen, in Polstersesseln sitzenden Damen aus den Jahren 1896-99.Drawing arthttps://sammlungtest.belvedere.at/objects/103523/rdf/internal/media/dispatcher/158529/fullPage 24 (blank page)1898[Gustav Klimt]Gustav KlimtBooklet bound in red leather, drawings and notes in pencil and a black and white photoDrawing arthttps://sammlungtest.belvedere.at/objects/103524/rdf/internal/media/dispatcher/158530/fullPage 251898[Gustav Klimt]Gustav KlimtBooklet bound in red leather, drawings and notes in pencil and a black and white photoSchwer zu deutende Kompositionsskizze. Das Bildformat entspricht den Fakultätsbildern. Möglicherweise Variante zur "Philosophie" oder Ideenskizze zur "Jurisprudenz".Drawing arthttps://sammlungtest.belvedere.at/objects/103525/rdf/internal/media/dispatcher/158531/fullPage 26 (blank page)1898[Gustav Klimt]Gustav KlimtBooklet bound in red leather, drawings and notes in pencil and a black and white photoDrawing arthttps://sammlungtest.belvedere.at/objects/103526/rdf/internal/media/dispatcher/158532/fullPage 271898[Gustav Klimt]Gustav KlimtBooklet bound in red leather, drawings and notes in pencil and a black and white photoWeitere Studie zur Figuren- und Massenverteilung, vor allem der Figurengruppe links, aber noch ohne Ausarbeitung von konkreten Figuren.Drawing arthttps://sammlungtest.belvedere.at/objects/103527/rdf/internal/media/dispatcher/158533/fullPage 28 (blank page)1898[Gustav Klimt]Gustav KlimtBooklet bound in red leather, drawings and notes in pencil and a black and white photoDrawing arthttps://sammlungtest.belvedere.at/objects/103528/rdf/internal/media/dispatcher/158534/fullPage 291898[Gustav Klimt]Gustav KlimtBooklet bound in red leather, drawings and notes in pencil and a black and white photoKönnte im Zusammenhang mit den Gemälden "Kühe im Stall" (1899) oder "Der schwarze Stier" (1900) stehen.Drawing arthttps://sammlungtest.belvedere.at/objects/103529/rdf/internal/media/dispatcher/158535/fullPage 30 (blank page)1898[Gustav Klimt]Gustav KlimtBooklet bound in red leather, drawings and notes in pencil and a black and white photoDrawing arthttps://sammlungtest.belvedere.at/objects/103530/rdf/internal/media/dispatcher/158536/fullPage 311898[Gustav Klimt]Gustav KlimtBooklet bound in red leather, drawings and notes in pencil and a black and white photoIm Anschluss an die Skizze auf Seite 23.Drawing arthttps://sammlungtest.belvedere.at/objects/103531/rdf/internal/media/dispatcher/158537/fullPage 32 (blank page)1898[Gustav Klimt]Gustav KlimtBooklet bound in red leather, drawings and notes in pencil and a black and white photoDrawing arthttps://sammlungtest.belvedere.at/objects/103532/rdf/internal/media/dispatcher/158538/fullPage 331898[Gustav Klimt]Gustav KlimtBooklet bound in red leather, drawings and notes in pencil and a black and white photoErstmals ist in dieser Skizze die Figur des/der gramgebeugten Alten links unten in kniender Form zu vermuten.Drawing arthttps://sammlungtest.belvedere.at/objects/103533/rdf/internal/media/dispatcher/158539/fullPage 34 (blank page)1898[Gustav Klimt]Gustav KlimtBooklet bound in red leather, drawings and notes in pencil and a black and white photoDrawing arthttps://sammlungtest.belvedere.at/objects/103534/rdf/internal/media/dispatcher/158540/fullPage 351898[Gustav Klimt]Gustav KlimtBooklet bound in red leather, drawings and notes in pencil and a black and white photoDrawing arthttps://sammlungtest.belvedere.at/objects/103535/rdf/internal/media/dispatcher/158541/fullPage 36 (blank page)1898[Gustav Klimt]Gustav KlimtBooklet bound in red leather, drawings and notes in pencil and a black and white photoDrawing arthttps://sammlungtest.belvedere.at/objects/103536/rdf/internal/media/dispatcher/158542/fullPage 371898[Gustav Klimt]Gustav KlimtBooklet bound in red leather, drawings and notes in pencil and a black and white photoDrawing arthttps://sammlungtest.belvedere.at/objects/103537/rdf/internal/media/dispatcher/158543/fullPage 38 (blank page)1898[Gustav Klimt]Gustav KlimtBooklet bound in red leather, drawings and notes in pencil and a black and white photoDrawing arthttps://sammlungtest.belvedere.at/objects/103538/rdf/internal/media/dispatcher/158544/fullPage 391898[Gustav Klimt]Gustav KlimtBooklet bound in red leather, drawings and notes in pencil and a black and white photoDrawing arthttps://sammlungtest.belvedere.at/objects/103539/rdf/internal/media/dispatcher/158545/fullPage 401898[Gustav Klimt]Gustav KlimtBooklet bound in red leather, drawings and notes in pencil and a black and white photoDrawing arthttps://sammlungtest.belvedere.at/objects/103540/rdf/internal/media/dispatcher/158546/fullPage 411898[Gustav Klimt]Gustav KlimtBooklet bound in red leather, drawings and notes in pencil and a black and white photoDiese sehr bildmäßige Zeichnung folgt bereits weitgehend dem ausgeführten Gemälde, nur der Hintergrund zeigt noch eine abweichende Gestaltung und das Kleid verdeckt noch die rechte Brust. Der Kopf des Holofernes in der Gestaltung einer tragischen Theatermaske angedeutet. Erstmals ist das kleine kreisrunde Ornament an der linken seitlichen Rahmenleiste angedeutet, das Klimt in Form stilisierter Blüten im ausgeführten Rahmen verwendet.Drawing arthttps://sammlungtest.belvedere.at/objects/103541/rdf/internal/media/dispatcher/158547/fullPage 42 (blank page)1898[Gustav Klimt]Gustav KlimtBooklet bound in red leather, drawings and notes in pencil and a black and white photoDrawing arthttps://sammlungtest.belvedere.at/objects/103542/rdf/internal/media/dispatcher/158548/fullPage 431898[Gustav Klimt]Gustav KlimtBooklet bound in red leather, drawings and notes in pencil and a black and white photoDrawing arthttps://sammlungtest.belvedere.at/objects/103543/rdf/internal/media/dispatcher/158549/fullPage 44 (blank page)1898[Gustav Klimt]Gustav KlimtBooklet bound in red leather, drawings and notes in pencil and a black and white photoDrawing arthttps://sammlungtest.belvedere.at/objects/103544/rdf/internal/media/dispatcher/158550/fullPage 451898[Gustav Klimt]Gustav KlimtBooklet bound in red leather, drawings and notes in pencil and a black and white photoBildkomposition, Figur und das Rahmenornament entsprechen bereits weitgehend dem ausgeführten Gemälde. Auch das Rankenornament hinter Kopf und Oberkörper ist schon angedeutet, nicht jedoch die Hintergrundgestaltung im unteren Bereich.Drawing arthttps://sammlungtest.belvedere.at/objects/103545/rdf/internal/media/dispatcher/158551/fullPage 46 (blank page)1898[Gustav Klimt]Gustav KlimtBooklet bound in red leather, drawings and notes in pencil and a black and white photoDrawing arthttps://sammlungtest.belvedere.at/objects/103546/rdf/internal/media/dispatcher/158552/fullPage 471898[Gustav Klimt]Gustav KlimtBooklet bound in red leather, drawings and notes in pencil and a black and white photoIn diesem Entwurf ist das Rankenornament im oberen Bereich des Hintergrundes wieder durch eine gleichförmig dunkle Fläche ersetzt, dafür sind die Hintergrundgestaltung im unteren Bereich und das Rahmenornament bereits weitgehend dem ausgeführten Gemälde entsprechend gestaltet.Drawing arthttps://sammlungtest.belvedere.at/objects/103547/rdf/internal/media/dispatcher/158553/fullPage 48 (blank page)1898[Gustav Klimt]Gustav KlimtBooklet bound in red leather, drawings and notes in pencil and a black and white photoDrawing arthttps://sammlungtest.belvedere.at/objects/103548/rdf/internal/media/dispatcher/158555/fullPage 491898[Gustav Klimt]Gustav KlimtBooklet bound in red leather, drawings and notes in pencil and a black and white photoDetailentwurf zum rechten Bein und Unterkörper der Sphinx („Welträtsel“). Bei der antiken Skulptur einer vierköpfigen Sphinx im Kunsthistorischen Museum, die Klimt als wichtigste Vorlage für diese Figur diente, fehlen die Vorderbeine. Klimt ergänzte diese daher nach einer anderen Vorlage.Drawing arthttps://sammlungtest.belvedere.at/objects/103549/rdf/internal/media/dispatcher/158554/fullPage 50 (blank page)1898[Gustav Klimt]Gustav KlimtBooklet bound in red leather, drawings and notes in pencil and a black and white photoDrawing arthttps://sammlungtest.belvedere.at/objects/103550/rdf/internal/media/dispatcher/158556/fullPage 511898[Gustav Klimt]Gustav KlimtBooklet bound in red leather, drawings and notes in pencil and a black and white photoMöglicherweise nach Vorbild der erotischen Grafik L’idole von Felicien Rops (1882).Drawing arthttps://sammlungtest.belvedere.at/objects/103551/rdf/internal/media/dispatcher/158557/fullPage 52 (blank page)1898[Gustav Klimt]Gustav KlimtBooklet bound in red leather, drawings and notes in pencil and a black and white photoDrawing arthttps://sammlungtest.belvedere.at/objects/103552/rdf/internal/media/dispatcher/158558/fullPage 531898[Gustav Klimt]Gustav KlimtBooklet bound in red leather, drawings and notes in pencil and a black and white photoDie Figurengruppe sehr ähnlich dem Fakultätsbild "Medizin", das Bildformat aber entsprechend dem Bild "Irrlichter".Drawing arthttps://sammlungtest.belvedere.at/objects/103553/rdf/internal/media/dispatcher/158559/fullPage 54 (blank page)1898[Gustav Klimt]Gustav KlimtBooklet bound in red leather, drawings and notes in pencil and a black and white photoDrawing arthttps://sammlungtest.belvedere.at/objects/103554/rdf/internal/media/dispatcher/158560/fullPage 551898[Gustav Klimt]Gustav KlimtBooklet bound in red leather, drawings and notes in pencil and a black and white photoDrawing arthttps://sammlungtest.belvedere.at/objects/103555/rdf/internal/media/dispatcher/158561/fullPage 56 (blank page)1898[Gustav Klimt]Gustav KlimtBooklet bound in red leather, drawings and notes in pencil and a black and white photoDrawing arthttps://sammlungtest.belvedere.at/objects/103556/rdf/internal/media/dispatcher/158562/fullPage 571898[Gustav Klimt]Gustav KlimtBooklet bound in red leather, drawings and notes in pencil and a black and white photoZwei Frauen, die eine in einem Fauteuil liegend, die andere vor ihr kniend mit dem Kopf zwischen ihren Beinen. Die Figuren umgeben von Fischen.Drawing arthttps://sammlungtest.belvedere.at/objects/103557/rdf/internal/media/dispatcher/158563/fullPage 58 (blank page)1898[Gustav Klimt]Gustav KlimtBooklet bound in red leather, drawings and notes in pencil and a black and white photoDrawing arthttps://sammlungtest.belvedere.at/objects/103558/rdf/internal/media/dispatcher/158564/fullPage 591898[Gustav Klimt]Gustav KlimtBooklet bound in red leather, drawings and notes in pencil and a black and white photoZwei Frauen, die eine in einem Fauteuil liegend, die andere vor ihr kniend mit dem Kopf zwischen ihren Beinen. Darüber ein Delfin(?). Die kniende Figur erinnert bereits an die Rückenfigur im Gemälde "Goldfische".Drawing arthttps://sammlungtest.belvedere.at/objects/103559/rdf/internal/media/dispatcher/158565/fullPage 60 (blank page)1898[Gustav Klimt]Gustav KlimtBooklet bound in red leather, drawings and notes in pencil and a black and white photoDrawing arthttps://sammlungtest.belvedere.at/objects/103560/rdf/internal/media/dispatcher/158566/fullPage 611898[Gustav Klimt]Gustav KlimtBooklet bound in red leather, drawings and notes in pencil and a black and white photoDie Plastizität von Weltkugel und Sphinx durch Schraffuren angedeutet. Erstmals deutlich erkennbar das zweite, seitliche Gesicht der Sphinx.Drawing arthttps://sammlungtest.belvedere.at/objects/103561/rdf/internal/media/dispatcher/158567/fullPage 62 (blank page)1898[Gustav Klimt]Gustav KlimtBooklet bound in red leather, drawings and notes in pencil and a black and white photoDrawing arthttps://sammlungtest.belvedere.at/objects/103562/rdf