Top 100 - Austrian painting
Austrian painting: 100 famous paintings from Klimt to Schiele
From Klimt's gold to Schiele's nervous lines, a century of Austrian painting where Vienna shines, doubts, dances and sometimes looks at the viewer with disarming frankness.
Austrian painting is not just about Kissing, although Klimt has set the bar quite high and covered part of the problem with gold leaf. The most famous works lead the way, then the route goes back in time and widens the gaze without discreetly slipping a poster or sculpture into the middle of the paintings.
From Baroque Vienna to the Secession
One hundred paintings to follow Austria when it changes light
The story begins well before 1900. Wolf Huber, Johann Georg Platzer, Paul Troger and Franz Anton Maulbertsch show an Austria where the religious panel, the mythological scene and the baroque fresco already organize the light like a spectacle. At Maulbertsch, the figures swirl with such energy that the ceiling seems to have forgotten its main mission: to remain quiet.
Klimt covers the golden silence, Schiele takes off his coat. Between the two, Austrian painting finds more than enough to hold a hundred paintings without asking for a coffee break.Switch to images
Classification in images
The Kiss, Wally, Adèle, Judith and Schiele's major works open the classification with images that have become global.
#1
The kiss
The initial silence of "The Kiss" lets the gaze choose its path before the composition reveals its true points of support. In front of "The Kiss", the gaze hesitates usefully between the precious detail and the whole. In "The Kiss", Klimt transforms this hesitation into movement, as if the canvas changed distance without moving. To look at "The Kiss", you must follow the relationship between the subject, the color values and the general construction of the surface; this is where the work gains its depth and avoids being reduced to a famous silhouette. To look at "The Kiss", you must follow the relationship between the subject, the color values and the general construction of the surface; this is where the work gains its depth and avoids being reduced to a famous silhouette. To look at "The Kiss", you must follow the relationship between the subject, the color values and the general construction of the surface; this is where the work gains its depth and avoids being reduced to a famous silhouette. The notice from "The Kiss" places it as a work dated 1907, preserved in the Belvedere Gallery, measuring 180 x 180 cm; these landmarks change the way of imagining its time and its real scale.
Discover →
#2
Portrait of Wally Neuzil
The oblique tension of "Portrait of Wally Neuzil" appears from the first relationships of shapes, then gains in precision when the details begin to respond to each other. Through "Portrait of Wally Neuzil", Schiele makes the body or landscape an interior state. In "Portrait of Wally Neuzil", a hand, a branch or a row of houses becomes the point where color stops describing and begins to worry. The character of "Portrait of Wally Neuzil" comes from the play between pose, gaze and the distance between the model and the viewer. In "Portrait of Wally Neuzil", a hand, a branch or a row of houses becomes the point where color stops describing and begins to worry. The character of "Portrait of Wally Neuzil" comes from the play between pose, gaze and the distance between the model and the viewer. In "Portrait of Wally Neuzil", a hand, a branch or a row of houses becomes the point where color stops describing and begins to worry. The character of "Portrait of Wally Neuzil" comes from the play between pose, gaze and the distance between the model and the viewer. In "Portrait of Wally Neuzil", a hand, a branch or a row of houses becomes the point where color stops describing and begins to worry. The character of "Portrait of Wally Neuzil" comes from the play between pose, gaze and the distance between the model and the viewer. In "Portrait of Wally Neuzil", a hand, a branch or a row of houses becomes the point Wally Neuzil thus belongs to an Austrian story where the image must remain readable while maintaining enough mystery so that the wall does not get bored after three days.
Discover →
#3
Portrait of Adèle Bloch-Bauer I
The restrained brilliance of "Portrait of Adèle Bloch-Bauer I" does not immediately deliver all its force; it catches the eye, slows it down and soon requires a more attentive reading. Under the apparent richness of "Portrait of Adèle Bloch-Bauer I", Klimt constructs a very firm order. In "Portrait of Adèle Bloch-Bauer I", the calm areas prevent the ornament from speaking without catching its breath, which remains an excellent discipline. The singularity of "Portrait of Adèle Bloch-Bauer I", the calm areas prevent the ornament from speaking without catching its breath, which remains an excellent discipline. The singularity of "Portrait of Adèle Bloch-Bauer I" appears in the pose, the look and the distance between the model and the spectator. In "Portrait of Adèle Bloch-Bauer I", the calm areas prevent the ornament from speaking without catching its breath, which remains an excellent discipline. The singularity of "Portrait of Adèle Bloch-Bauer I" appears in the pose, the look and the distance between the model and the spectator. In "Portrait of Adèle Bloch-Bauer I", the calm areas prevent the ornament from speaking without catching its breath, which remains an excellent discipline. The singularity of "Portrait of Adèle Bloch-Bauer I" appears in the pose, the look and the distance between the model and the spectator. In "Portrait of Adèle Bloch-Bauer I" appears in the but a more lasting memory. The notice of "Portrait of Adèle Bloch-Bauer I" places it as a work dated 1907, preserved in the Neue Galerie, measuring 138 x 162 cm; these landmarks change the way we imagine its time and its real scale.
Discover →
#4
Death and Young Girl
The frontal presence of "Death and Maiden" is as much about the subject as it is about the way in which the painted masses occupy and cut out the available space. The gaze enters "Death and Maiden" through an unstable form. In "Death and Maiden", Schiele refuses the beautiful academic continuity and prefers a line capable of hesitating, biting and resuming its path. The singularity of "Death and Maiden" appears in the pose, the look and the distance between the model and the spectator. In "Death and Maiden", this setting gives the image its own tempo, with less fanfare than an imperial palace but a more lasting memory. The notice of "Death and Maiden" places it like a work dated 1915, preserved in the Belvedere Gallery, measuring 150 x 180 cm; these landmarks change the way we imagine its time and its real scale.
Discover →
#5
Judith I
The inner rhythm of "Judith I" is discovered in stages, between a very readable first effect and more discreet tensions which prolong the gaze. By observing "Judith I", we understand that Klimt does not separate portrait, landscape and decorative composition. In "Judith I", the three work together, with the ornament in the role of the very brilliant but truly competent colleague. To look at "Judith I", you have to follow the pose, the look and the distance between the model and the spectator; this is where the work gains its depth and avoids being reduced to a famous silhouette. The work of "Judith I" gains its depth and avoids being reduced to a famous silhouette. This is where the work gains its depth and avoids being reduced to a famous silhouette. The work of "Judith I" takes place as a work dated 1901, preserved in the Belvedere Gallery, measuring 84 x 42 cm; these landmarks change the way of imagining its time and its real scale.
Discover →
#6
The Embrace
The patient construction of "The Embrace" gives each area a precise function, even when the key or gesture seems to have chosen spontaneity. In "The Embrace", Schiele lets the line carry most of the tension. In "The Embrace", a broken outline, a hand that is too sharp or a space left bare is enough to make a presence felt that does not seek to pose gently. The singularity of "The Embrace" appears in the relationship between the subject, the color values and the general construction of the surface. In "The Embrace", a broken outline, a hand that is too lively or a space left bare is enough to make one feel a presence that does not seek to pose gently. The singularity of "The Embrace" appears in the relationship between the subject, the color values and the general construction of the surface. In "The Embrace", a broken outline, a hand that is too lively or a space left bare is enough to make one feel a presence that does not seek to pose gently. The singularity of "The Embrace" appears in the relationship between the subject, the color values and the general construction of the surface. In "The Embrace", this setting appears in the relationship between the subject, the color values and the general construction of the surface. In "The Embrace", this setting appears in the relationship between the subject, the color values and the general construction of the surface. In "The Embrace", this setting appears in the relationship between the subject, the color values and the general construction of the surface. In "The Embrace", thus to an Austrian story where the image must remain readable while maintaining enough mystery so that the wall does not get bored after three days.
Discover →
#7
Danae
The mobile balance of "Danaé" rests on opposing forces which support each other without ever becoming a perfectly well-bred symmetry. "Danaé" shows that the brilliance in Klimt is never a simple jewel placed on the canvas; it distributes the gazes, compresses the space and gives the subject an almost ceremonial presence. The visual story of "Danaé" is mainly due to the tension of the story, the symbolic signs and the way in which the bodies occupy the stage. In "Danaé", the details then become actors rather than very well-dressed accessories. "Danaé" is mainly due to the tension of the story, the symbolic signs and the way in which the bodies occupy the stage. In "Danaé", the details then become actors rather than very well-dressed accessories. "Danaé" is mainly due to the tension of the story, the symbolic signs and the way in which the bodies occupy the stage. In "Danaé", the details then become actors rather than very well-dressed accessories. "Danaé" thus belongs to an Austrian story where the image must remain readable while retaining enough mystery so that the wall does not get bored after three days.
Discover →
#8
The family
The directed light of "The Family" does not just illuminate the subject; it also decides on hierarchy, movement and distance. The tension of "The Family" arises above all from its deviations. In "The Family", Schiele moves a shoulder, breaks a silhouette or tilts a roof, and the image begins to breathe in a much less comfortable way. The character of "The Family" comes from the play between pose, gaze and the distance between the model and the spectator. In "The Family", this organization prevents the image from remaining decorative and preserves a real inner tension. The character of "The Family" comes from the play between pose, gaze and the distance between the model and the spectator. In "The Family", this organization prevents the image from remaining decorative and preserves real inner tension. "The Family" comes from the play between pose, gaze and the distance between the model and the viewer. In "The Family", this organization prevents the image from remaining decorative and preserves real inner tension. "The Family" comes from the play between pose, gaze and the distance between the model and the viewer. In "The Family", this organization prevents the image from remaining decorative and preserves real inner tension. "The Family" thus belongs to an Austrian story where the image must remain readable while maintaining enough mystery so that the wall does not get bored after three days.
Discover →
#9
The Tree of Life, Stoclet Frieze
The visible material of "The Tree of Life, Stoclet Frieze" keeps track of the brush and transforms the surface into an experience, not just an open window on a stage. By observing "The Tree of Life, Stoclet Frieze", we understand that Klimt does not separate portrait, landscape and decorative composition. In "The Tree of Life, Stoclet Frieze", the three work together, with the ornament in the role of the very brilliant but truly competent colleague. To look at "The Tree of Life, Stoclet Frieze", the three work together, with the ornament in the role of the very brilliant but truly competent colleague. To look at "The Tree of Life, Stoclet Frieze", you have to follow the depth, the rhythm of the masses and the light that connects the pattern to the sky; this is where the work gains its depth and avoids being reduced to a famous silhouette. The notice of " The Tree of Life, Frise Stoclet situates it as a work dated 1909, preserved MAK - Austrian Museum of Applied Arts/Contemporary Art, measuring 200 x 102 cm; these landmarks change the way we imagine its time and its real scale.
Discover →
#10
Cardinal and Nun (Caresse)
The tight framing of "Cardinal and Nun (Caresse)" forces each shape to count and gives the slightest interval a fairly considerable responsibility. In "Cardinal and Nun (Caresse)", Schiele lets the line carry most of the tension. In "Cardinal and Nun (Caresse)", a broken outline, a hand that is too sharp or a space left bare is enough to make one feel a presence that does not seek to pose gently. The singularity of "Cardinal and Nun (Caresse)", a broken outline, a hand that is too lively or a space left bare is enough to make one feel a presence that does not seek to pose gently. The singularity of "Cardinal and Nun (Caresse)" appears in the relationship between the subject, the color values and the general construction of the surface. In "Cardinal and Nun (Caresse)", a broken outline, a hand that is too lively or a space left bare is enough to make one feel a presence that does not seek to pose gently. The singularity of "Cardinal and Nun (Caresse)" appears in the relationship between the subject, the color values and the general construction of the surface. In "Cardinal and Nun (Caresse)", a broken outline, a hand that is too lively or a space left bare is enough to make one feel a presence that does not seek to pose gently. The singularity of "Cardinal and Nun (Caresse)" appears in the relationship between the imperial but a more lasting memory. "Cardinal and Nun (Caresse)" thus belongs to an Austrian history where the image must remain readable while maintaining enough mystery so that the wall does not get bored after three days.
Discover →
#11
Life and Death
The calm depth of "Life and Death" arises from a sequence of shots whose logic becomes clearer as the eye slows down. Through "Life and Death", Klimt makes color a mental material as much as visible. In "Life and Death", Each chord brings the subject closer together, then a motif puts him at a distance with great elegance. In front of "Life and Death", each chord brings the subject closer together, then a motif puts him at a distance with great elegance. In front of "Life and Death", the relationship between the subject, the color values and the general construction of the surface deserves a second look: the work appears immediate, then reveals a more patient construction than its first effect. The notice of "Life and Death", the relationship between the subject, the color values and the general construction of the surface deserves a second look: the work appears immediate, then reveals a more patient construction than its first effect. The work appears immediate, then reveals a more patient construction than its first effect. The notice of "Life and Death" places it as a work dated 1910, preserved in the Leopold Museum, measuring 180.5 x 200.5 cm; these landmarks change the way of imagining its time and its real scale.
Discover →
#12
Self-portrait with Physalis
The colorful accent of "Self-portrait with Physalis" acts as a precise signal: it awakens an area, shifts the balance and restarts the entire composition. The gaze enters "Self-portrait with Physalis" through an unstable form. In "Self-portrait with Physalis", Schiele refuses beautiful academic continuity and prefers a line capable of hesitating, biting and resuming its path. The singularity of "Self-portrait with Physalis" appears in the pose, the look and the distance between the model and the spectator. In "Self-portrait with Physalis", Schiele refuses the beautiful academic continuity and prefers a line capable of hesitating, biting and resuming its path. The singularity of "Self-portrait with Physalis" appears in the pose, the look and the distance between the model and the spectator. In "Self-portrait with Physalis", this setting gives the image its own tempo, with less fanfare than an imperial palace but a more lasting memory. "Self-portrait with Physalis thus belongs to an Austrian story where the image must remain readable while maintaining enough mystery so that the wall does not get bored after three days.
Discover →
#13
The Three Ages of Women
The soft gravity of "The Three Ages of Women" avoids emphasis while retaining enough tension so that the subject never turns into a simple setting. "The Three Ages of Women" shows that the brilliance in Klimt is never a simple jewel placed on the canvas; it distributes the looks, compresses the space and gives the subject an almost ceremonial presence. The visual story of "The Three Ages of Women" is mainly about the pose, the look and the distance between the model and the viewer. In "The Three Ages of Women", the details then become actors rather than very well dressed accessories. In "The Three Ages of Women", the details then become actors rather than very well dressed accessories. work dated 1905, preserved National Gallery of Modern and Contemporary Art, measuring 180 x 180 cm; these landmarks change the way we imagine its time and its real scale.
Discover →
#14
Four trees
The contained movement of "Four Trees" flows between figures, objects or patterns without needing a spectacular effect to remain sensitive. The composition of "Four Trees" is held together by angles, folds and tensions rather than ideal pose. In "Four Trees", Schiele maintains the resemblance, but removes the cushion of conventions. In front of "Four Trees", the relationship between the subject, the color values and the general construction of the surface deserves a second look: the work appears immediate, then reveals a more patient construction than its first effect. "Four Trees", the relationship between the subject, the color values and the general construction of the surface deserves a second look: the work appears immediate, then reveals a more patient construction than its first effect. "Four Trees", the relationship between the subject, the color values and the general construction of the surface deserves a second look: the work appears immediate, then reveals a more patient construction than its first effect. "Four Trees" thus belongs to an Austrian story where the image must remain readable while maintaining enough mystery so that the wall does not get bored after three days.
Discover →
#15
Portrait of Adèle Bloch-Bauer II
The deceptive clarity of "Portrait of Adèle Bloch-Bauer II" facilitates entry into the image, then reveals a more complex organization than this first visual politeness. The first strength of "Portrait of Adèle Bloch-Bauer II" comes from the passage between material and sign. In "Portrait of Adèle Bloch-Bauer II", Klimt lets the color describe the subject, then entrusts the motifs with the task of regulating their breathing. The character of "Portrait of Adèle Bloch-Bauer II", Klimt lets the color describe the subject, then entrusts the motifs with the task of adjusting their breathing. The character of "Portrait of Adèle Bloch-Bauer II" comes from the play between pose, gaze and the distance between the model and the spectator. In "Portrait of Adèle Bloch-Bauer II", Klimt lets the color describe the subject, then entrusts the motifs with the task of adjusting their breathing. The character of "Portrait of Adèle Bloch-Bauer II" comes from the play between pose, gaze and the distance between the model and the spectator. In "Portrait of Adèle Bloch-Bauer II", Klimt lets the color describe the subject, then entrusts the motifs with the task of adjusting their breathing. The character of "Portrait of Adèle Bloch-Bauer II" comes from the play between pose, gaze and the distance between the model and the spectator. In "Portrait of Adèle Bloch-Bauer II", Klimt lets notice of "Portrait of Adèle Bloch-Bauer II" places it as a work dated 1912, kept in a private collection, measuring 190 x 120 cm; these landmarks change the way we imagine its time and its real scale.
Discover →
#16
The Hermites
The active space of "The Hermites" gives as much importance to intervals as to painted shapes, which gives the void a very busy role. In front of "The Hermites", color seems rare but decisive. In "The Hermites", Schiele uses it as a nervous accent that reveals the skin, a fabric, a facade or a specific psychological moment. To look at "The Hermites", you have to follow the relationship between the subject, the color values and the general construction of the surface; this is where the work gains its depth and avoids being reduced to a famous silhouette. This is where the work gains its depth and avoids being reduced to a famous silhouette. This is where the work gains its depth and avoids being reduced to a famous silhouette. This is where the work gains its depth and avoids being reduced to a famous silhouette. This is where the work gains its depth and avoids being reduced to a famous silhouette. This is where the work gains its depth and avoids being reduced to a famous silhouette. This is where the work gains its depth and avoids being reduced to a famous silhouette. "The Hermites" thus belongs to an Austrian story where the image must remain readable while maintaining enough mystery so that the wall does not get bored after three days.
Discover →
#17
Portrait of Fritza Riedler
The structuring color of "Portrait of Fritza Riedler" does not come after the drawing: it constructs the distances, weights and tempo of the gaze. In "Portrait of Fritza Riedler", Klimt works the ornament like architecture: the pattern first attracts, then silently organizes bodies, voids and areas of light. The singularity of "Portrait of Fritza Riedler" appears in the pose, look and distance between the model and the viewer. In "Portrait of Fritza Riedler", this setting gives the image its own tempo, with less fanfare than an imperial palace but a more lasting memory. work dated 1906, preserved in Osterreichische Galerie Belvedere, measuring 153 x 133 cm; these landmarks change the way of imagining its time and its real scale.
Discover →
#18
Dead City III (The City on the Blue River III)
The decisive detail of "Dead City III (The City on the Blue River III)" is not necessarily the most striking; However, it is enough to orient the scene and set its tone. The tension of "Dead City III (The City on the Blue River III)" arises above all from its deviations. In "Dead City III (The City on the Blue River III)", Schiele moves a shoulder, breaks a silhouette or tilts a roof, and the image begins to breathe in a much less comfortable way. In "Dead City III (The City on the Blue River III)", Schiele moves a shoulder, breaks a silhouette or tilts a roof, and the image begins to breathe in a much less comfortable way. In "Dead City III (The City on the Blue River III)", Schiele moves a shoulder, breaks a silhouette or tilts a roof, and the image begins to breathe in a much less comfortable way. In "Dead City III (The City on the Blue River III)", Schiele moves a shoulder, breaks a silhouette or tilts a roof, and the image begins to breathe in a much less comfortable way. In "Dead City III (The City on the Blue River III)", Schiele moves a shoulder, breaks a silhouette or tilts a roof, and the image begins to breathe in a much less comfortable way. In "Dead City III (The City on the Blue River III)", Schiele moves a shoulder, breaks a silhouette or tilts a roof, and the image begins to breathe this organization prevents the image from remaining decorative and retains real inner tension. The notice of "Ville Morte III (The City on the Blue River III)" places it as a work dated 1911, preserved in the Leopold Museum, measuring 373 x 298 cm; these landmarks change the way of imagining its time and its real scale.
Discover →
#19
Portrait of Emilie Flöge
The organized surface of "Portrait of Emilie Flöge" brings together several reading speeds, from the immediately recognizable image to chords that require a little more patience. Through "Portrait of Emilie Flöge", Klimt makes color a mental material as much as visible. In "Portrait of Emilie Flöge", Each chord brings the subject closer together, then a motif puts them back at a distance with great elegance. In front of "Portrait of Emilie Flöge", Each chord brings the subject closer, then a motif puts them back at a distance with great elegance. In front of "Portrait of Emilie Flöge", the pose, the look and the distance between the model and the spectator deserves a second look: the work appears immediate, then reveals a more patient construction than its first effect. "Portrait of Emilie Flöge" deserves a second look: the pose, the look and the distance between the model and the spectator deserves a second look: the work appears immediate, then reveals a more patient construction than its first effect. "Portrait of Emilie Flöge" thus belongs to a story austrian where the image must remain readable while maintaining enough mystery so that the wall does not get bored after three days.
Discover →
#20
Self-portrait (1910)
The progressive intensity of "Self-portrait (1910)" begins with a clear pattern and continues in the gaps in material, contour and light. The gaze enters "Self-portrait (1910)" through an unstable form. In "Self-portrait (1910)", Schiele refuses beautiful academic continuity and prefers a line capable of hesitating, biting and resuming its path. The singularity of "Self-portrait (1910)" appears in the pose, the gaze and the distance between the model and the spectator. In "Self-portrait (1910)", Schiele refuses the beautiful academic continuity and prefers a line capable of hesitating, biting and resuming its path. The singularity of "Self-portrait (1910)" appears in the pose, the gaze and the distance between the model and the spectator. In "Self-portrait (1910)", Schiele refuses the beautiful academic continuity and prefers a line capable of hesitating, biting and resuming its path. The singularity of "Self-portrait (1910)" appears in the pose, the gaze and the distance between the model and the spectator. In "Self-portrait (1910)", this setting gives the image its own tempo, with less fanfare than an imperial palace but a more lasting memory. "Self-portrait (1910)", this setting austrian where the image must remain readable while maintaining enough mystery so that the wall does not get bored after three days.
Discover →
#21
Sonja Knips
The initial silence of "Sonja Knips" lets the eye choose its path before the composition reveals its true points of support. The first strength of "Sonja Knips" comes from the passage between material and sign. In "Sonja Knips", Klimt lets the color describe the subject, then entrusts the patterns with the task of regulating their breathing. The character of "Sonja Knips" comes from the play between the relationship between the subject, the color values and the general construction of the surface. In "Sonja Knips", this organization prevents the image from remaining decorative and then entrusts it to the patterns to regulate its breathing. The character of "Sonja Knips" comes from the play between the relationship between the subject, the color values and the general construction of the surface. In "Sonja Knips", this organization prevents the image from remaining decorative and retains real inner tension. "Sonja Knips" comes from the play between the relationship between the subject, the color values and the general construction of the surface. In "Sonja Knips", this organization prevents the image from remaining decorative and retains real inner tension. "Sonja Knips" comes from the play between the relationship between the subject, the color values and the general construction of the surface. In "Sonja Knips", this organization prevents the image from remaining decorative and retains real inner tension. "Sonja Knips" comes from the play between the relationship between the subject, the color values and the general construction of the surface. In "Sonja Knips", this organization prevents the image
Discover →
#22
Seated male nude (Self-portrait)
The oblique tension of "Sitting Male Nude (Self-Portrait)" appears from the first relationships of shapes, then gains in precision when the details begin to respond to each other. The gaze enters "Sitting Male Nude (Self-Portrait)" through an unstable form. In "Sitting Male Nude (Self-Portrait)", Schiele refuses beautiful academic continuity and prefers a line capable of hesitating, biting and returning to its path. The singularity of "Sitting Male Nude (Self-Portrait)" appears in the pose, the gaze and the distance between the model and the spectator. In "Sitting Male Nude (Self-Portrait)", Schiele refuses the beautiful academic continuity and prefers a line capable of hesitating, biting and resuming its path. The singularity of "Sitting Male Nude (Self-Portrait)" appears in the pose, the gaze and the distance between the model and the spectator. In "Sitting Male Nude (Self-Portrait)", Schiele refuses the beautiful academic continuity and prefers a line capable of hesitating, biting and resuming its path. The singularity of "Sitting Male Nude (Self-Portrait)" appears in the pose, the gaze and the distance between the model and the spectator. In "Sitting Male Nude (Self-Portrait)", Schiele refuses the beautiful academic continuity and prefers a line capable of hesitating, biting and resuming its path. The a more lasting memory. "Sitting male nude (Self-portrait)" thus belongs to an Austrian story where the image must remain readable while maintaining enough mystery so that the wall does not get bored after three days.
Discover →
#23
Mäda Primavesi
The restrained brilliance of "Mäda Primavesi" does not deliver all its strength immediately; it catches the eye, slows it down and soon requires a more attentive reading. Through "Mäda Primavesi", Klimt makes color a mental material as much as visible. In "Mäda Primavesi", Each chord brings the subject closer together, then a motif puts him at a distance with great elegance. In front of "Mäda Primavesi", Each chord brings the subject closer together, then a motif puts him at a distance with great elegance. In front of "Mäda Primavesi", the relationship between the subject, the color values and the general construction of the surface deserves a second look: the work appears immediate, then reveals a construction more patient than its first effect. "Mäda Primavesi", the relationship between the subject, the color values and the general construction of the surface deserves a second look: the work appears immediate, then reveals a construction more patient than its first effect. "Mäda Primavesi", the relationship between the subject, the color values and the general construction of the surface deserves a second look: the work appears immediate, then reveals a construction more patient than its first effect. "Mäda Primavesi", the relationship between the subject, the color values and the general construction of the surface deserves a second look: the work appears immediate, then reveals a construction more patient than its first effect. "Mäda Primavesi" thus belongs to an Austrian story where the image must remain readable while maintaining enough mystery so that the wall does not
Discover →
#24
Edward Kosmack
The frontal presence of "Édouard Kosmack" is as much about the subject as it is about the way in which the painted masses occupy and cut out the available space. In the tight space of "Édouard Kosmack", Schiele gives a lot of authority to the silences. In "Édouard Kosmack", what is not painted weighs as much as the subject, an economy that overly talkative walls could meditate on. The visual story of "Édouard Kosmack" is mainly about the relationship between the subject, the color values and the general construction of the surface. In "Édouard Kosmack", what is not painted weighs as much as the subject, an economy that overly talkative walls could meditate on. The visual story of "Édouard Kosmack" is mainly about the relationship between the subject, the color values and the general construction of the surface. In "Édouard Kosmack", what is not painted weighs as much as the subject, an economy that overly talkative walls could meditate on. The visual story of "Édouard Kosmack" is mainly about the relationship between the subject, the color values and the general construction of the surface. In "Édouard Kosmack", an economy that overly talkative walls could meditate on. The visual story of "Édouard Kosmack" is mainly about the relationship between the subject, the color values and the general construction of the surface. In "Édouard Kosmack", the details then become actors rather than very well dressed accessories. "Édouard Kosmack" in "É austrian where the image must remain readable while maintaining enough mystery so that the wall does not get bored after three days.
Discover →
#25
The Woman with the Fan
The inner rhythm of "The Woman with the Fan" is discovered in stages, between a very readable first effect and more discreet tensions which prolong the gaze. By observing "The Woman with the Fan", we understand that Klimt does not separate portrait, landscape and decorative composition. In "The Woman with the Fan", the three work together, with the ornament in the role of the very brilliant but truly competent colleague. To watch "The Woman with the Fan", you have to follow the pose, the look and the distance between the model and the spectator; this is where the work gains its depth and avoids being reduced to a famous silhouette. "The Woman with the Fan" thus belongs to one austrian story where the image must remain readable while maintaining enough mystery so that the wall does not get bored after three days.
Discover →Portraits, landscapes, cities and allegories show two works much larger than their most famous icons.
#26
Dead mother I
The patient construction of "Dead Mother I" gives each area a precise function, even when the touch or gesture seems to have chosen spontaneity. In front of "Dead Mother I", the color seems rare but decisive. In "Dead Mother I", Schiele uses it as a nervous accent that reveals the skin, a fabric, a facade or a specific psychological moment. To look at "Dead Mother I", you have to follow the pose, the look and the distance between the model and the viewer; this is where the work gains its depth and avoids being reduced to a famous silhouette. "Dead Mother I" is where you have to follow the pose, the look and the distance between the model and the viewer; this is where the work gains its depth and avoids being reduced to a famous silhouette. "Dead Mother I" is where you have to follow the pose, the look and the distance between the model and the viewer; this is where the work gains its depth and avoids being reduced to a famous silhouette. "Dead Mother I" is where you have to follow the pose, the look and the distance between the model and the viewer; this is where the work gains its depth and avoids being reduced to a famous silhouette. "Dead Mother I" thus belongs to an Austrian story where the image must remain readable while maintaining enough mystery so that the wall does not get bored after three days.
Discover →
#27
Pallas Athena
The mobile balance of "Pallas Athena" rests on opposing forces which support each other without ever becoming a perfectly well-bred symmetry. The space of "Pallas Athena" does not follow a docile perspective. In "Pallas Athena", Klimt superimposes presence, decor and symbol so that the image can be intimate and monumental in the same movement. The character of "Pallas Athena" comes from the play between the tension of the story, the symbolic signs and the way in which the bodies occupy the scene. In "Pallas Athena", this organization prevents the image from remaining decorative and preserves a real inner tension. In "Pallas Athena", this organization prevents the image from remaining decorative and preserves a real inner tension. the image must remain readable while maintaining enough mystery so that the wall does not get bored after three days.
Discover →
#28
Prophets (Double Self-Portrait)
The directed light of "Prophets (Double Self-Portrait)" does not just illuminate the subject; it also decides on hierarchy, movement and distance. "Prophets (Double Self-Portrait)" advances with this frankness specific to Schiele: little protective decor, exposed shapes and a color which intervenes exactly where the gaze risks believing itself to be calm. The visual story of "Prophets (Double Self-Portrait)" is mainly based on the pose, the look and the distance between the model and the spectator. In "The Visual Story of "Prophets (Double Self-Portrait)" is mainly about the pose, the look and the distance between the model and the viewer. In "The Visual Story of "Prophets (Double Self-Portrait)" is mainly about the pose, the look and the distance between the model and the viewer. In "Prophets (Double Self-Portrait)", the details then become actors rather than very well-dressed accessories. "Prophets (Double Self-Portrait)" thus belongs to an Austrian story where the image must remain readable while maintaining enough mystery so that the wall does not get bored after three days.
Discover →
#29
Nuda Veritas
The visible material of "Nuda Veritas" keeps track of the brush and transforms the surface into an experience, not just an open window on a stage. The space of "Nuda Veritas" does not follow a docile perspective. In "Nuda Veritas", Klimt superimposes presence, decor and symbol so that the image can be intimate and monumental in the same movement. The character of "Nuda Veritas" comes from the play between the relationship between the subject, the color values and the general construction of the surface. In "Nuda Veritas", this organization prevents the image from remaining decorative and retains real inner tension. "Nuda Veritas" thus belongs to an Austrian history where the image must remain readable while maintaining enough mystery so that the wall does not get bored after three days.
Discover →
#30
Portrait of Edith (the artist's wife)
The tight framing of "Portrait of Edith (the artist's wife)" forces each form to count and gives quite considerable responsibility at the slightest interval. The composition of "Portrait of Edith (the artist's wife)" is held together by angles, folds and tensions rather than by an ideal pose. In "Portrait of Edith (the artist's wife)", Schiele retains the resemblance, but removes the cushion of conventions. In front of "Portrait of Edith (the artist's wife)", Schiele retains the resemblance, but removes the cushion of conventions. In front of "Portrait of Edith (the artist's wife)", Schiele retains the resemblance, but removes the cushion of conventions. In front of "Portrait of Edith (the artist's wife)", Schiele retains the resemblance, but removes the cushion of conventions. In front of "Portrait of Edith (the artist's wife)", Schiele retains the resemblance, but removes the cushion of conventions. In front of "Portrait of Edith (the artist's wife)", Schiele retains the resemblance, but removes the cushion of conventions. In front of "Portrait of Edith (the artist's wife)", Schiele retains the resemblance, but removes the cushion of conventions. In front of "Portrait of Edith (the artist's wife)", the pose, the look and the distance between the model and the spectator deserves a second look: the (the artist's wife)" thus belongs to an Austrian story where the image must remain readable while maintaining enough mystery so that the wall does not get bored after three days.
Discover →
#31
The Beethovenfries/Beethoven Frieze
The calm depth of "The Beethovenfries/Beethoven Frieze" arises from a sequence of shots whose logic becomes clearer as the eye slows down. In "The Beethovenfries/Beethoven Frieze", Klimt works the ornament like architecture: the pattern first attracts, then silently organizes bodies, voids and areas of light. The singularity of "The Beethovenfries/Beethoven Frieze" appears in the relationship between the subject, color values and general surface construction. In "The Beethovenfries/Beethoven Frieze", this setting gives the image its own tempo, with less fanfare than an imperial palace but a more lasting memory. "The Beethovenfries /Frieze Beethoven" thus belongs to an Austrian story where the image must remain readable while maintaining enough mystery so that the wall does not get bored after three days.
Discover →
#32
Portrait of Gerti Schiele
The colorful accent of "Portrait of Gerti Schiele" acts as a precise signal: it awakens an area, shifts the balance and restarts the entire composition. "Portrait of Gerti Schiele" advances with this frankness specific to Schiele: little protective decor, exposed shapes and a color that intervenes exactly where the gaze risks feeling calm. The visual story of "Portrait of Gerti Schiele" is mainly based on the pose, the look and the distance between the model and the spectator. In "Portrait of Gerti Schiele", the details then become actors rather than very well-dressed accessories. "Portrait of Gerti Schiele" is mainly based on the pose, the look and the distance between the model and the spectator. In "Portrait of Gerti Schiele", the details become mainly in the pose, the look and the distance between the model and the spectator. In "Portrait of Gerti Schiele", the details become mainly in the pose, the look and the distance between the model and the spectator. In "Portrait of Gerti Schiele", the details become mainly actors rather than very well-dressed accessories. "Portrait of Gerti Schiele" thus belongs to a story austrian where the image must remain readable while maintaining enough mystery so that the wall does not get bored after three days.
Discover →
#33
Hope
The flexible gravity of "Hope" avoids emphasis while retaining enough tension so that the subject never transforms into a simple setting. The first force of "Hope" comes from the passage between material and sign. In "Hope", Klimt lets color describe the subject, then entrusts the patterns with the task of adjusting their breathing. The character of "Hope" comes from the play between the relationship between the subject, the color values and the general construction of the surface. In "Hope", this organization prevents the image from remaining decorative and then entrusts it to the motifs to regulate its breathing. The character of "Hope" comes from the play between the relationship between the subject, the color values and the general construction of the surface. In "Hope", this organization prevents the image from remaining decorative and retains real inner tension. The character of "Hope" comes from the play between the relationship between the subject, the color values and the general construction of the surface. In "Hope", this organization prevents the image from remaining decorative and retains real inner tension. The character of "Hope" comes from the play between the relationship between the subject, the color values and the general construction of the surface. In "Hope", this organization prevents the image from remaining decorative and retains real inner tension. The character of "Hope" comes from the play between the relationship between the subject, the color values and the general construction of the surface. In "Hope", this organization prevents the image from remaining decorative and retains real inner tension. "Hope" comes from the play between the relationship between the subject, the color values and the
Discover →
#34
Portrait of Arthur Roessler
The contained movement of "Portrait of Arthur Roessler" flows between figures, objects or patterns without needing a spectacular effect to remain sensitive. In "Portrait of Arthur Roessler", Schiele lets the line carry most of the tension. In "Portrait of Arthur Roessler", a broken outline, a hand that is too sharp or a space left bare is enough to make a presence felt that does not seek to pose gently. The singularity of "Portrait of Arthur Roessler" appears in the pose, gaze and distance between the model and the viewer. In "Portrait of Arthur Roessler", a broken outline, a hand that is too lively or a space left bare is enough to make one feel a presence that does not seek to pose gently. The singularity of "Portrait of Arthur Roessler" appears in the pose, gaze and distance between the model and the viewer. In "Portrait of Arthur Roessler", a broken outline, a hand that is too lively or a space left bare is enough to make one feel a presence that does not seek to pose gently. The singularity of "Portrait of Arthur Roessler" appears in the pose, gaze and distance between the model and the viewer. In "Portrait of Arthur Roessler", this setting gives the image its own tempo, with less fanfare than an imperial palace but a more lasting memory. "Portrait of Arthur Roessler" thus belongs to an Austrian story where the image must remain readable while maintaining enough mystery so that the wall does not get bored after three days.
Discover →
#35
Judith II
The deceptive clarity of "Judith II" facilitates entry into the image, then reveals a more complex organization than this first visual politeness. In front of "Judith II", the gaze hesitates usefully between the precious detail and the whole. In "Judith II", Klimt transforms this hesitation into movement, as if the canvas changed distance without moving. To look at "Judith II", you have to follow the pose, the look and the distance between the model and the viewer; this is where the work gains its depth and avoids being reduced to a famous silhouette. To look at "Judith II", you must follow the pose, the gaze and the distance between the model and the spectator; this is where the work gains its depth and avoids being reduced to a famous silhouette. This is where the work gains its depth and avoids being reduced to a famous silhouette. "Judith II" is where you have to follow the pose, the gaze and the distance between the model and the viewer; this is where the work gains its depth and avoids being reduced to a famous silhouette. "Judith II" is where you have to follow the pose, the gaze and the distance between the model and the viewer; this is where the work gains its depth and avoids being reduced to a famous silhouette. "Judith II" is thus part of an Austrian story where the image must remain readable while maintaining enough mystery so that the wall does not get bored after three days.
Discover →
#36
Portrait of Erich Lederer
The active space of "Portrait of Erich Lederer" places as much importance on intervals as on painted shapes, which gives emptiness a very busy role. The tension of "Portrait of Erich Lederer" arises above all from its gaps. In "Portrait of Erich Lederer", Schiele moves a shoulder, breaks a silhouette or tilts a roof, and the image begins to breathe in a much less comfortable way. The character of "Portrait of Erich Lederer" comes from the play between pose, gaze and distance between the model and the viewer. In "Portrait of Erich Lederer", Schiele moves a shoulder, breaks a silhouette or tilts a roof, and the image begins to breathe in a much less comfortable way. The character of "Portrait of Erich Lederer" comes from the play between pose, gaze and distance between the model and the viewer. In "Portrait of Erich Lederer", Schiele moves a shoulder, breaks a silhouette or tilts a roof, and the image begins to breathe in a much less comfortable way. The character of "Portrait of Erich Lederer" comes from the play between pose, gaze and distance between the model and the viewer. In "Portrait of Erich Lederer", this organization prevents the image from remaining decorative and retains real inner tension. "Portrait of Erich Lederer", this organization prevents the image from remaining decorative and retains real inner tension. "Portrait of Erich Lederer", this organization prevents the image from remaining decorative and retains real inner tension. " thus belongs to an Austrian story where the image must remain readable while maintaining enough mystery so that the wall does not get bored after three days.
Discover →
#37
Water Serpents II
The structuring color of "Serpents d'eau II" does not come after the drawing: it constructs the distances, weights and tempo of the gaze. The rhythm of "Serpents d'eau II" is based on clear oppositions: skin and pattern, depth and surface, silence of the face and activity of the decor. In "Serpents d'eau II", Klimt tunes them without making them wise. The visual story of "Serpents d'eau II" is mainly based on the relationship between the subject, the color values and the general construction of the surface. In "Serpents d'eau II", Klimt tunes them without making them wise. The visual story of "Serpents d'eau II" is mainly based on the relationship between the subject, the color values and the general construction of the surface. In "Serpents d'eau II", Klimt tunes them without making them wise. The visual story of "Serpents d'eau II" is mainly based on the relationship between the subject, the color values and the general construction of the surface. In "Serpents d'eau II", Klimt tunes them without making them wise. The visual story of "Serpents d'eau II" is mainly based on the relationship between the subject, the color values and the general construction of the surface. In "Serpents d'eau II", Klimt tunes them without making them wise. The visual story of "Serpents d'eau II" is mainly based on where the image must remain readable while maintaining enough mystery so that the wall does not get bored after three days.
Discover →
#38
Portrait of Friederike Maria Beer
The decisive detail of "Portrait of Friederike Maria Beer" is not necessarily the most striking; However, it is enough to orient the scene and fix its tone. The composition of "Portrait of Friederike Maria Beer" is held together by angles, folds and tensions rather than by an ideal pose. In "Portrait of Friederike Maria Beer", Schiele retains the resemblance, but removes the cushion of conventions. In front of "Portrait of Friederike Maria Beer", the pose, the look and the distance between the model and the spectator deserves a second look: the work appears immediate, then reveals a more patient construction than its first effect. "Portrait of Friederike Maria Beer" belongs thus to an Austrian story where the image must remain readable while maintaining enough mystery so that the wall does not get bored after three days.
Discover →
#39
Bewegtes Wasser
The organized surface of "Bewegtes Wasser" brings together several reading speeds, from the instantly recognizable image to chords that require a little more patience. The space of "Bewegtes Wasser" does not follow a docile perspective. In "Bewegtes Wasser", Klimt superimposes presence, decoration and symbol so that the image can be intimate and monumental in the same movement. The character of "Bewegtes Wasser" comes from the play between the relationship between the subject, the color values and the general construction of the surface. In "Bewegtes Wasser", this organization prevents the image from remaining decorative and retains real inner tension. "Bewegtes Wasser" belongs like this to an Austrian story where the image must remain readable while maintaining enough mystery so that the wall does not get bored after three days.
Discover →
#40
Portrait of Herbert Reiner
The progressive intensity of "Portrait of Herbert Reiner" begins with a clear pattern and continues in the gaps in material, contour and light. Under the apparent fragility of "Portrait of Herbert Reiner", the construction remains very safe. In "Portrait of Herbert Reiner", Schiele knows exactly where to interrupt the outline so that the eye continues the movement and feels slightly responsible for the result. To watch "Portrait of Herbert Reiner", you have to follow the pose, the look and the distance between the model and the viewer; this is where the work gains its depth and avoids being reduced to a famous silhouette. "Portrait of Herbert Reiner" thus belongs to a story austrian where the image must remain readable while maintaining enough mystery so that the wall does not get bored after three days.
Discover →
#41
Goldfish
The initial silence of "Goldfish" lets the eye choose its path before the composition reveals its true points of support. The rhythm of "Goldfish" is based on clear oppositions: skin and pattern, depth and surface, silence of the face and activity of the decor. In "Goldfish", Klimt tunes them without making them wise. The visual story of "Goldfish" is mainly based on the relationship between the subject, the color values and the general construction of the surface. In "Goldfish", Klimt tunes them without making them wise. The visual story of "Goldfish" is mainly based on the relationship between the subject, the color values and the general construction of the surface. In "Goldfish", Klimt tunes them without making them wise. The visual story of "Goldfish" is mainly based on the relationship between the subject, the color values and the general construction of the surface. In "Goldfish", Klimt tunes them without making them wise. The visual story of "Goldfish" is mainly based on the relationship between the subject, the color values and the general construction of the surface. In "Goldfish", Klimt tunes them without making them wise. The visual story of "Goldfish" is mainly based on the relationship between the subject, the color values and the general construction of the surface. In "Goldfish", Klimt tunes them without making them wise. The visual story of "Goldfish" is mainly based on the relationship between the subject, the color values and the general construction of the surface. In remain readable while maintaining enough mystery so that the wall does not get bored after three days.
Discover →
#42
Portrait of Anton Peschka
The oblique tension of "Portrait of Anton Peschka" appears from the first relationships of shapes, then gains in precision when the details begin to respond to each other. Through "Portrait of Anton Peschka", Schiele makes the body or landscape an interior state. In "Portrait of Anton Peschka", a hand, a branch or a row of houses becomes the point where color stops describing and begins to worry. The character of "Portrait of Anton Peschka" comes from the play between pose, gaze and distance between the model and the viewer. In "Portrait of Anton Peschka", a hand, a branch or a row of houses becomes the point where color stops describing and begins to worry. The character of "Portrait of Anton Peschka" comes from the play between pose, gaze and distance between the model and the viewer. In "Portrait of Anton Peschka", a hand, a branch or a row of houses becomes the point where color stops describing and begins to worry. The character of "Portrait of Anton Peschka" comes from the play between pose, gaze and distance between the model and the viewer. In "Portrait of Anton Peschka", a hand, a branch or a row of houses becomes the point where color stops describing and begins to worry. The character of "Portrait of Anton Peschka" comes from the play between pose, gaze and distance between the model and the viewer. In "Portrait of Anton Peschka", a hand, a branch or a row of houses becomes the point where color stops describing and begins d'Anton Peschka' thus belongs to an Austrian story where the image must remain readable while maintaining enough mystery so that the wall does not get bored after three days.
Discover →
#43
The Virgins
The restrained brilliance of "The Virgins" does not deliver all its force immediately; it catches the eye, slows it down and soon requires more careful reading. "The Virgins" shows that Klimt's brilliance is never a simple jewel placed on the canvas; it distributes glances, compresses space and gives the subject an almost ceremonial presence. The visual story of "The Virgins" is mainly about the relationship between the subject, the color values and the general construction of the surface. In "The Virgins", the details then become actors rather than very well dressed accessories. In the visual story of "The Virgins" is mainly about the relationship between the subject, the color values and the general construction of the surface. In "The Virgins", the details then become actors rather than very well dressed accessories. In "The Virgins", the details then become actors rather than very well dressed accessories. "The Virgins" is mainly about the relationship between the subject, the color values and the general construction of the surface. In "The Virgins", the details then become actors rather than very well dressed accessories. In "The Virgins", the details then become actors rather than very well dressed accessories. "The Virgins" are mainly about the relationship between the subject, the color values and the general construction of the surface. In "The Virgins", the details then become actors rather than very well dressed accessories. "The Virgins" are mainly about the relationship between the subject, the color values and the general construction of the surface. In "The Virgins", the details then become
Discover →
#44
Portrait of Leopold Czihaczek (1907)
The frontal presence of "Portrait of Leopold Czihaczek (1907)" is as much about the subject as it is about the way in which the painted masses occupy and cut out the available space. Under the apparent fragility of "Portrait of Leopold Czihaczek (1907)", the construction remains very safe. In "Portrait of Leopold Czihaczek (1907)", the construction remains very safe. In "Portrait of Leopold Czihaczek (1907)", Schiele knows exactly where to interrupt the outline so that the eye continues the movement and feels slightly responsible for the result. To look at "Portrait of Leopold Czihaczek (1907)", Schiele knows exactly where to interrupt the outline so that the eye continues the movement and feels slightly responsible for the result. To look at "Portrait of Leopold Czihaczek (1907)", Schiele knows exactly where to interrupt the outline so that the eye continues the movement and feels slightly responsible for the result. To look at "Portrait of Leopold Czihaczek (1907)", one must follow the pose, the gaze and the distance between the model and the viewer; this is where the work gains its depth and avoids being reduced to a famous silhouette. "Portrait of Leopold Czihaczek (1907) thus belongs to an Austrian story where the image must remain readable while maintaining enough mystery so that the wall does not get bored after three days.
Discover →
#45
The bride
The inner rhythm of "The Bride" is discovered in stages, between a very readable first effect and more discreet tensions which prolong the gaze. By observing "The Bride", we understand that Klimt does not separate portrait, landscape and decorative composition. In "The Bride", the three work together, with the ornament in the role of the very brilliant but truly competent colleague. To look at "The Bride", you have to follow the relationship between the subject, the color values and the general construction of the surface; this is where the work gains its depth and avoids being reduced to a famous silhouette. "The bride" is where the work gains its depth and avoids being reduced to a famous silhouette. "The bride" is where the work gains its depth and avoids being reduced to a famous silhouette. "The bride" is where the work gains its depth and avoids being reduced to a famous silhouette. "The bride" is where the work gains its depth and avoids being reduced to a famous silhouette. remain readable while maintaining enough mystery so that the wall does not get bored after three days.
Discover →
#46
Houses with colorful linen
The patient construction of "Houses with Colored Linen" gives each area a precise function, even when the touch or gesture seems to have chosen spontaneity. The look enters "Houses with colored linen" through an unstable form. In "Houses with Colored Linen", Schiele refuses beautiful academic continuity and prefers a line capable of hesitating, biting and getting back on its way. The singularity of "Houses with colored linen" appears in the relationship between the subject, the color values and the general construction of the surface. In "Houses with colored linen", Schiele refuses beautiful academic continuity and prefers a line capable of hesitating, biting and getting back on its way. The singularity of "Houses with colored linen" appears in the relationship between the subject, the color values and the general construction of the surface. In "Houses with colored linen", this setting gives the image its own tempo, with less fanfare than an imperial palace but one more lasting memory. "Houses with colored linen" thus belongs to an Austrian history where the image must remain readable while maintaining enough mystery so that the wall does not get bored after three days.
Discover →
#47
Adam and Eve
The mobile balance of "Adam and Eve" rests on opposing forces which support each other without ever becoming a perfectly well-bred symmetry. The first force of "Adam and Eve" comes from the passage between matter and sign. In "Adam and Eve", Klimt lets the color describe the subject, then entrusts the motifs with the task of regulating their breathing. The character of "Adam and Eve" comes from the play between the relationship between the subject, the color values and the general construction of the surface. In "Adam and Eve", this organization prevents the image from remaining decorative and then entrusts the motifs with the task of regulating its breathing. The character of "Adam and Eve" comes from the play between the relationship between the subject, the color values and the general construction of the surface. In "Adam and Eve", this organization prevents the image from remaining decorative and retains real inner tension. "Adam and Eve" comes from the play between the relationship between the subject, the color values and the general construction of the surface. In "Adam and Eve", this organization prevents the image from remaining decorative and retains real inner tension. "Adam and Eve" comes from the play between the relationship between the subject, the color values and the general construction of the surface. In "Adam and Eve", this organization prevents the image from remaining decorative and retains real inner tension. "Adam and Eve" comes from the play between the relationship between the subject, the color values and the general construction of the surface. In "Adam and Eve", this organization prevents the image from remaining decorative and retains real inner tension. "A
Discover →
#48
Stein on the Danube, seen from the south
The directed light of "Stein on the Danube, seen from the south" not only illuminates the subject; it also decides on hierarchy, movement and distance. The composition of "Stein on the Danube, seen from the south" is held together by angles, folds and tensions rather than by an ideal pose. In "Stein on the Danube, seen from the south", Schiele retains the resemblance, but removes the cushion of conventions. In front of "Stein on the Danube, seen from the south", Schiele retains the resemblance, but removes the cushion of conventions. In front of "Stein on the Danube, seen from the south", Schiele retains the resemblance, but removes the cushion of conventions. In front of "Stein on the Danube, seen from the south", the relationship between the subject, the color values and the general construction of the surface deserves a second look: the work appears immediate, then reveals a more patient construction than its first effect. "Stein on the Danube, seen from the south", the relationship between the subject, the color values and the general construction of the surface deserves a second look: the work appears immediate, then reveals a more patient construction than its first effect. "Stein on the Danube, seen from the south", the relationship between the subject, the color values and the general construction of the surface deserves a second look: the work appears immediate, then reveals a more patient construction than its first effect. "Stein on the Danube, seen from the south", the relationship between the subject, the color values and the general construction of the surface deserves a sud thus belongs to an Austrian history where the image must remain readable while maintaining enough mystery so that the wall does not get bored after three days.
Discover →
#49
Portrait of Margarethe Stonborough-Wittgenstein
The visible material of "Portrait of Margarethe Stonborough-Wittgenstein" keeps track of the brush and transforms the surface into an experience, not just an open window on a stage. Beneath the apparent richness of "Portrait of Margarethe Stonborough-Wittgenstein", Klimt constructs a very firm order. In "Portrait of Margarethe Stonborough-Wittgenstein", the calm areas prevent the ornament from speaking without catching its breath, which remains an excellent discipline. The singularity of "Portrait of Margarethe Stonborough-Wittgenstein", the calm areas prevent the ornament from speaking without catching its breath, which remains an excellent discipline. The singularity of "Portrait of Margarethe Stonborough-Wittgenstein", the calm areas prevent the ornament from speaking without catching its breath, which remains an excellent discipline. The singularity of "Portrait of Margarethe Stonborough-Wittgenstein", the calm areas prevent the ornament from speaking without catching its breath, which remains an excellent discipline. The singularity of "Portrait of Margarethe Stonborough-Wittgenstein" appears in the pose, the look and the distance between the model and the spectator. In "Portrait of Margarethe Stonborough-Wittgenstein" appears in the pose, the gaze and the distance between the model and the spectator. In "Portrait of Margarethe Stonborough-Wittgenstein", the calm areas prevent the ornament from speaking without catching its breath setting gives the image its own tempo, with less fanfare than an imperial palace but a more lasting memory. "Portrait of Margarethe Stonborough-Wittgenstein" thus belongs to an Austrian history where the image must remain readable while maintaining enough mystery so that the wall does not get bored after three days.
Discover →
#50
Krumau at night (Dead City II, 1911)
The tight framing of "Krumau at night (Dead City II, 1911)" forces each form to count and gives the slightest interval a fairly considerable responsibility. "Krumau at night (Dead City II, 1911)" advances with this frankness specific to Schiele: little protective decor, exposed shapes and a color which intervenes exactly where the eye risks believing itself to be calm. The visual story of "Krumau at night (Dead City II, 1911)" fits above all into the depth, the rhythm of the masses and the light which connects the motif to the sky. In "Krumau at Night (Dead City II, 1911)" lies above all in the depth, the rhythm of the masses and the light which connects the motif to the sky. In "Krumau at Night (Dead City II, 1911)" lies above all in the depth, the rhythm of the masses and the light which connects the motif to the sky. In "Krumau at Night (Dead City II, 1911)" lies above all in the depth, the rhythm of the masses and the light which connects the motif to the sky. In "Krumau at Night (Dead City II, 1911)" lies above all in the depth, the rhythm of the masses and the light which connects the motif to the sky. In "Krumau at Night (Dead City II, 1911)" night (Dead City II, 1911)" thus belongs to an Austrian history where the image must remain readable while maintaining enough mystery so that the wall does not get bored after three days.
Discover →Gerstl, late portraits, landscapes and less expected paintings give relief to the rupture around 1900.
#51
Portrait of Eugenia Primavesi
The calm depth of "Portrait of Eugenia Primavesi" arises from a sequence of shots whose logic becomes clearer as the eye slows down. Through "Portrait of Eugenia Primavesi", Klimt makes color a mental material as much as visible. In "Portrait of Eugenia Primavesi", Each chord brings the subject closer together, then a motif puts them back at a distance with great elegance. In front of "Portrait of Eugenia Primavesi", Each chord brings the subject closer, then a motif puts them back at a distance with great elegance. In front of "Portrait of Eugenia Primavesi", Each chord brings the subject closer, then a motif puts them back at a distance with great elegance. In front of "Portrait of Eugenia Primavesi", the pose, the look and the distance between the model and the spectator deserves a second look: the work appears immediate, then reveals a more patient construction than its first effect. "Portrait of Eugenia Primavesi" deserves a second look: the pose, the look and the distance between the model and the viewer deserves a second look: the work appears immediate, then reveals a more patient construction than its first effect. "Portrait of Eugenia Primavesi" deserves a second look: the pose, the look and the distance between the model and the viewer deserves a second look: in front of "Portrait of Eugenia Primavesi", the pose, the look and the distance between the model and the viewer deserves a second look: in front of "Portrait of Eugenia Prim where the image must remain readable while maintaining enough mystery so that the wall does not get bored after three days.
Discover →
#52
Old houses in Krumau
The colorful accent of "Old Houses in Krumau" acts as a precise signal: it awakens an area, shifts the balance and restarts the entire composition. The gaze enters "Old Houses in Krumau" through an unstable form. In "Old Houses in Krumau", Schiele refuses beautiful academic continuity and prefers a line capable of hesitating, biting and resuming its path. The singularity of "Old Houses in Krumau" appears in the depth, the rhythm of the masses and the light that connects the pattern to the sky. In "Old Houses in Krumau", Schiele refuses the beautiful academic continuity and prefers a line capable of hesitating, biting and resuming its path. The singularity of "Old Houses in Krumau" appears in the depth, the rhythm of the masses and the light that connects the pattern to the sky. In "Old Houses in Krumau", this setting gives the image its own tempo, with less fanfare than an imperial palace but a more lasting memory. "Old houses in Krumau thus belongs to an Austrian history where the image must remain readable while maintaining enough mystery so that the wall does not get bored after three days.
Discover →
#53
Portrait of Friedericke Maria Beer
The soft gravity of "Portrait of Friedericke Maria Beer" avoids emphasis while retaining enough tension so that the subject never transforms into simple decor. In "Portrait of Friedericke Maria Beer", Klimt works the ornament like architecture: the pattern first attracts, then silently organizes bodies, voids and areas of light. The singularity of "Portrait of Friedericke Maria Beer" appears in the pose, gaze and distance between the model and the viewer. In "Portrait of Friedericke Maria Beer", this setting gives the image its own tempo, with less fanfare than an imperial palace but a more lasting memory. Friedericke Maria Beer thus belongs to an Austrian story where the image must remain readable while maintaining enough mystery so that the wall does not get bored after three days.
Discover →
#54
City at dusk (La Petite Ville II, 1913)
The contained movement of "City at Twilight (Little Town II, 1913)" circulates between figures, objects or patterns without needing a spectacular effect to remain sensitive. Through "City at Twilight (Little Town II, 1913)", Schiele makes the body or landscape an interior state. In "City at Twilight (Little Town II, 1913)", a hand, a branch or a row of houses becomes the point where color ceases to describe and begins to worry. The character of "City at Twilight (Little Town II, 1913)", a hand, a branch or a row of houses becomes the point where color ceases to describe and begins to worry. The character of "City at Twilight (Little Town II, 1913)", a hand, a branch or a row of houses becomes the point where color ceases to describe and begins to worry. The character of "City at Twilight (Little Town II, 1913)", a hand, a branch or a row of houses becomes the point where color ceases to describe and begins to worry. The character of "City at Twilight (Little Town II, 1913)", a hand, a branch or a row of houses becomes the point where color ceases to describe and begins to worry. The character of "City at Twilight (Little Town II, 1913)", a hand, a branch or a row of houses becomes the point where color ceases to 1913), this organization prevents the image from remaining decorative and retains real inner tension. "City at dusk (La Petite Ville II, 1913)" thus belongs to an Austrian history where the image must remain readable while maintaining enough mystery so that the wall does not get bored after three days.
Discover →
#55
Portrait of Hermine Gallia
The deceptive clarity of "Portrait of Hermine Gallia" facilitates entry into the image, then reveals a more complex organization than this first visual politeness. "Portrait of Hermine Gallia" shows that the brilliance in Klimt is never a simple jewel placed on the canvas; it distributes the looks, compresses the space and gives the subject an almost ceremonial presence. The visual story of "Portrait of Hermine Gallia" is mainly in the pose, the look and the distance between the model and the spectator. In "Portrait of Hermine Gallia", the details then become actors rather than very well dressed accessories. "Portrait of Hermine Gallia" is mainly in the pose, the look and the distance between the model and the spectator. In "Portrait of Hermine Gallia", the details then become actors rather than very well dressed accessories. "Portrait of Hermine Gallia" thus belongs to a story austrian where the image must remain readable while maintaining enough mystery so that the wall does not get bored after three days.
Discover →
#56
Autumn Sun I (Sunrise, 1912)
The active space of "Autumn Sun I (Sunrise, 1912)" places as much importance on intervals as on painted shapes, which gives emptiness a very busy role. The gaze enters "Autumn Sun I (Sunrise, 1912)" through an unstable form. In "Autumn Sun I (Sunrise, 1912)", Schiele refuses the beautiful academic continuity and prefers a line capable of hesitating, biting and resuming its path. The singularity of "Autumn Sun I (Sunrise, 1912)", Schiele refuses the beautiful academic continuity and prefers a line capable of hesitating, biting and resuming its path. The singularity of "Autumn Sun I (Sunrise, 1912)", Schiele refuses the beautiful academic continuity and prefers a line capable of hesitating, biting and resuming its path. The singularity of "Autumn Sun I (Sunrise, 1912)", Schiele refuses the beautiful academic continuity and prefers a line capable of hesitating, biting and resuming its path. The singularity of "Autumn Sun I (Sunrise, 1912)", Schiele refuses the beautiful academic continuity and prefers a line capable of hesitating, biting and resuming its path. The singularity of "Autumn Sun I (Sunrise, 1912)", Schiele refuses the beautiful academic continuity and prefers a line capable of hesitating, biting and with less fanfare than an imperial palace but a more lasting memory. "Autumn Sun I (Sunrise, 1912)" thus belongs to an Austrian history where the image must remain readable while maintaining enough mystery so that the wall does not get bored after three days.
Discover →
#57
Portrait of Johanna Staude
The structuring color of "Portrait of Johanna Staude" does not come after the drawing: it constructs the distances, weights and tempo of the gaze. The rhythm of "Portrait of Johanna Staude" is based on clear oppositions: skin and pattern, depth and surface, silence of the face and activity of the decor. In "Portrait of Johanna Staude", Klimt tunes them without making them wise. The visual story of "Portrait of Johanna Staude" is mainly about the pose, the look and the distance between the model and the viewer. In "Portrait of Johanna Staude", Klimt tunes them without making them wise. The visual story of "Portrait of Johanna Staude" is mainly about the pose, the look and the distance between the model and the viewer. In "Portrait of Johanna Staude", Klimt tunes them without making them wise. The visual story of "Portrait of Johanna Staude" is mainly about the pose, the look and the distance between the model and the viewer. In "Portrait of Johanna Staude", Klimt tunes them without making them wise. The visual story of "Portrait of Johanna Staude" is mainly about the pose, the look and the distance between the model and the viewer. In "Portrait of Johanna Staude", Klimt tunes them without making them wise. The visual story of "Portrait of Johanna Staude" is mainly about the pose, the look and the distance between the model and the thus to an Austrian story where the image must remain readable while maintaining enough mystery so that the wall does not get bored after three days.
Discover →
#58
Procession (1911)
The decisive detail of "Procession (1911)" is not necessarily the most striking; However, it is enough to orient the scene and fix its tone. The gaze enters "Procession (1911)" through an unstable form. In "Procession (1911)", Schiele refuses the beautiful academic continuity and prefers a line capable of hesitating, biting and resuming its path. The singularity of "Procession (1911)" appears in the relationship between the subject, the color values and the general construction of the surface. In "Procession (1911)", Schiele refuses the beautiful academic continuity and prefers a line capable of hesitating, biting and resuming its path. The singularity of "Procession (1911)" appears in the relationship between the subject, the color values and the general construction of the surface. In "Procession (1911)", Schiele refuses the beautiful academic continuity and prefers a line capable of hesitating, biting and resuming its path. The singularity of "Procession (1911)" appears in the relationship between the subject, the color values and the general construction of the surface. In "Procession (1911)", this setting appears in the relationship between the subject, the color values and the general construction of the surface. In "Procession (1911)", this setting appears in the relationship between the subject, the color values and the general construction of the surface. In "Procession (19 austrian story where the image must remain readable while maintaining enough mystery so that the wall does not get bored after three days.
Discover →
#59
Portrait of Amalie Zuckerkandl
The organized surface of "Portrait of Amalie Zuckerkandl" brings together several reading speeds, from the instantly recognizable image to chords that require a little more patience. Under the apparent richness of "Portrait of Amalie Zuckerkandl", Klimt constructs a very firm order. In "Portrait of Amalie Zuckerkandl", the calm areas prevent the ornament from speaking without catching its breath, which remains an excellent discipline. The singularity of "Portrait of Amalie Zuckerkandl", the calm areas prevent the ornament from speaking without catching its breath, which remains an excellent discipline. The singularity of "Portrait of Amalie Zuckerkandl" appears in the pose, the look and the distance between the model and the spectator. In "Portrait of Amalie Zuckerkandl", the calm areas prevent the ornament from speaking without catching its breath, which remains an excellent discipline. The singularity of "Portrait of Amalie Zuckerkandl" appears in the pose, the gaze and the distance between the model and the spectator. In "Portrait of Amalie Zuckerkandl", the calm areas prevent the ornament from speaking without catching its breath, which remains an excellent discipline. The singularity of "Portrait of Amalie Zuckerkandl" appears in the pose, the gaze and the distance between the model and the viewer. In "Portrait of Amalie Zuckerkandl", this setting gives the image its own tempo, with less fanfare than a palace imperial but a more lasting memory. "Portrait of Amalie Zuckerkandl" thus belongs to an Austrian story where the image must remain readable while maintaining enough mystery so that the wall does not get bored after three days.
Discover →
#60
Revelation (1911)
The progressive intensity of "Revelation (1911)" begins with a clear pattern and continues in the gaps in material, contour and light. Under the apparent fragility of "Revelation (1911)", the construction remains very safe. In "Revelation (1911)", Schiele knows exactly where to interrupt the outline so that the eye continues the movement and feels slightly responsible for the result. To look at "Revelation (1911)", one must follow the relationship between the subject, the color values and the general construction of the surface; this is where the work gains its depth and avoids being reduced to a famous silhouette. "Revelation (1911)", one must follow the relationship between the subject, the color values and the general construction of the surface; this is where the work gains its depth and avoids being reduced to a famous silhouette. "Revelation (1911)", one must follow the relationship between the subject, the color values and the general construction of the surface; this is where the work gains its depth and avoids being reduced to a famous silhouette. "Revelation (1911)", one must follow the relationship between the subject, the color values and the general construction of the surface; this is where the work gains its depth and avoids being reduced to a famous silhouette. "Revelation (1911)", one must follow the relationship between the subject, the color values and the general construction of the surface; this is where the work gains its depth and avoids being reduced to a famous silhouette the image must remain readable while maintaining enough mystery so that the wall does not get bored after three days.
Discover →
#61
The music
The initial silence of "The Music" lets the eye choose its path before the composition reveals its true points of support. The first strength of "Music" comes from the passage between material and sign. In "Music", Klimt lets color describe the subject, then entrusts the motifs with the task of regulating their breathing. The character of "Music" comes from the play between the relationship between the subject, the color values and the general construction of the surface. In "Music", this organization prevents the image from remaining decorative and then entrusts it to the motifs to regulate its breathing. The character of "Music" comes from the play between the relationship between the subject, the color values and the general construction of the surface. In "Music", this organization prevents the image from remaining decorative and retains real inner tension. "The music" comes from the play between the relationship between the subject, the color values and the general construction of the surface. In "Music", this organization prevents the image from remaining decorative and retains real inner tension. "The music" thus belongs to an Austrian story where the image must remain readable while maintaining enough mystery so that the wall does not get bored after three days.
Discover →
#62
Sunflowers I
The oblique tension of "Tournesols I" appears from the first relationships of shapes, then gains in precision when the details begin to respond to each other. "Tournesols I" advances with this frankness specific to Schiele: little protective decoration, exposed shapes and a color which intervenes exactly where the eye risks feeling calm. The visual story of "Tournesols I" is mainly based on the relationship between the subject, the color values and the general construction of the surface. In "Tournesols I", the details then become actors rather than very well dressed accessories. In "Tournesols I", the details then become actors rather than very well dressed accessories. In "Tournesols I", the details then become actors rather than very well dressed accessories. In "Tournesols I", the details then become actors rather than very well dressed accessories. In "Tournesols I", the details then become actors rather than very well dressed accessories. In "Tournesols I", the details then become actors rather than very well dressed accessories. In "Tournesols I", the details then become actors rather than very well dressed accessories. "Tournesols I" is mainly based on the relationship between the subject, the color values and the general construction of the surface. In "Tournesols I", the details then become actors rather than very well dressed accessories. In "Tournesols I", the details then become actors rather than very well dressed accessories. "Tournesols I" is mainly based on the relationship between the subject, the color values and the general construction of the surface. In "T
Discover →
#63
Schubert on piano I
The restrained brilliance of "Schubert on piano I" does not deliver all its strength immediately; it catches the eye, slows it down and soon imposes a more attentive reading on it. Under the apparent richness of "Schubert on piano I", Klimt constructs a very firm order. In "Schubert on piano I", the calm areas prevent the ornament from speaking without catching its breath, which remains an excellent discipline. The singularity of "Schubert on piano I" appears in the relationship between the subject, the color values and the general construction of the surface. In "Schubert on piano I", the calm areas prevent the ornament from speaking without catching its breath, which remains an excellent discipline. The singularity of "Schubert on piano I" appears in the relationship between the subject, the color values and the general construction of the surface. In "Schubert on piano I", the calm areas prevent the ornament from speaking without catching its breath, which remains an excellent discipline. The singularity of "Schubert on piano I" appears in the relationship between the subject, the color values and the general construction of the surface. In "Schubert on piano I", the calm areas prevent the ornament from speaking without catching its breath, which remains an excellent discipline. The singularity of "Schubert on piano I" appears in the relationship between the subject, the color values and the general construction of the surface. In "Schubert on "Schubert on piano I" thus belongs to an Austrian story where the image must remain readable while maintaining enough mystery so that the wall does not get bored after three days.
Discover →
#64
The Lovers (Self-portrait with Wally)
The frontal presence of "The Lovers (Self-Portrait with Wally)" is as much about the subject as it is about the way in which the painted masses occupy and cut up the available space. In the tight space of "The Lovers (Self-Portrait with Wally)", Schiele gives a lot of authority to the silences. In "The Lovers (Self-Portrait with Wally)", what is not painted weighs as much as the subject, an economy that overly talkative walls could meditate on. The visual story of "The Lovers (Self-Portrait with Wally)", what is not painted weighs as much as the subject, an economy that overly talkative walls could meditate on. The visual story of "The Lovers (Self-Portrait with Wally)", what is not painted weighs as much as the subject, an economy that overly talkative walls could meditate on. The visual story of "The Lovers (Self-Portrait with Wally)", which is not painted weighs as much as the subject, an economy that overly talkative walls could meditate on. The visual story of "The Lovers (Self-Portrait with Wally)", which weighs as much as the subject, an economy that overly talkative walls could meditate on. The visual story of "The Lovers (Self-Portrait with Wally)", which weighs as much as the subject, an economy that overly talkative walls could very well dressed accessories. "The Lovers (Self-portrait with Wally)" thus belongs to an Austrian story where the image must remain readable while maintaining enough mystery so that the wall does not get bored after three days.
Discover →
#65
Attersee
The interior rhythm of "Attersee" is discovered in stages, between a very readable first effect and more discreet tensions which prolong the gaze. The space of "Attersee" does not follow a docile perspective. In "Attersee", Klimt superimposes presence, decor and symbol so that the image can be intimate and monumental in the same movement. The character of "Attersee" comes from the play between depth, the rhythm of the masses and the light which connects the motif to the sky. In "Attersee", this organization prevents the image from remaining decorative and preserves a real inner tension. "Attersee" comes from the play between depth, the rhythm of the masses and the light which connects the pattern to the sky. In "Attersee", this organization prevents the image from remaining decorative and retains real inner tension. "Attersee" thus belongs to an Austrian history where the image must remain readable while maintaining enough mystery so that the wall does not get bored after three days.
Discover →
#66
Mother with two children II (1915)
The patient construction of "Mother with Two Children II (1915)" gives each area a precise function, even when the touch or gesture seems to have chosen spontaneity. "Mother with Two Children II (1915)" advances with this frankness specific to Schiele: little protective decor, exposed shapes and a color that intervenes exactly where the gaze risks believing itself to be calm. The visual story of "Mother with Two Children II (1915)" is mainly based on the pose, the look and the distance between the model and the viewer. In "Mother with Two Children II (1915)" is mainly based on the pose, the look and the distance between the model and the viewer. In "Mother with Two Children II (1915)" is mainly based on the pose, the look and the distance between the model and the viewer. In "Mother with Two Children II (1915)" is mainly based on the pose, the look and the distance between the model and the viewer. In "Mother with Two Children II (1915)" is mainly based on the pose, the look and the distance between the model and the viewer. In "Mother with Two Children II (1915)" is mainly based on the pose, the look and the distance between the model and the viewer. In "Mother with Two Children II (1915)" lies above all II (1915) thus belongs to an Austrian history where the image must remain readable while maintaining enough mystery so that the wall does not get bored after three days.
Discover →
#67
Beech forest
The mobile balance of "Beech Forest" rests on opposing forces which support each other without ever becoming a perfectly well-bred symmetry. The space of "Beech Forest" does not follow a docile perspective. In "Beech Forest", Klimt superimposes presence, decoration and symbol so that the image can be intimate and monumental in the same movement. The character of "Beech Forest" comes from the play between depth, the rhythm of the masses and the light which connects the pattern to the sky. In "Beech Forest", this organization prevents the image from remaining decorative and preserves a real inner tension. "Beech Forest" comes from the play between depth, the rhythm of the masses and the light which connects the pattern to the sky. In "Beech Forest", this organization prevents the image from remaining decorative and preserves a real inner tension. "Beech Forest" thus belongs to an Austrian history where the image must remain readable while maintaining enough mystery so that the wall does not get bored after three days.
Discover →
#68
Landscape with Crows (1911)
The directed light of "Landscape of the Crows (1911)" does not just illuminate the subject; it also decides on hierarchy, movement and distance. The composition of "Landscape of the Crows (1911)" is held together by angles, folds and tensions rather than by an ideal pose. In "Landscape of the Crows (1911)", Schiele retains the resemblance, but removes the cushion of conventions. In front of "Landscape of the Crows (1911)", Schiele retains the resemblance, but removes the cushion of conventions. In front of "Landscape of the Crows (1911)", the depth, the rhythm of the masses and the light which connects the motif to the sky deserves a second look: the work appears immediate, then reveals a more patient construction than its first effect. "Landscape with Crows (1911)", the depth, the rhythm of the masses and the light which connects the motif to the sky deserves a second look: the work appears immediate, then reveals a more patient construction than its first effect. "Landscape with Crows (1911)", the depth, the rhythm of the masses and the light which connects the motif to the sky deserves a second look: in front of "Landscape with Crows (1911)", the depth, the rhythm of the masses and austrian story where the image must remain readable while maintaining enough mystery so that the wall does not get bored after three days.
Discover →
#69
Birch forest
The visible material of "Birch Forest" keeps track of the brush and transforms the surface into an experience, not just an open window on a stage. Through "Birch Forest", Klimt makes color a mental material as much as visible. In "Birch Forest", Each chord brings the subject closer together, then a pattern puts it back at bay with great elegance. In front of "Birch Forest", the depth, the rhythm of the masses and the light which connects the pattern to the sky deserves a second look: the work appears immediate, then reveals a construction more patient than its first effect. "Birch forest" thus belongs to an Austrian story where the image must remain readable while maintaining enough mystery so that the wall does not get bored after three days.
Discover →
#70
Landscape of Krumau (City and River, 1916)
The tight framing of "Landscape of Krumau (City and River, 1916)" forces each form to count and gives quite considerable responsibility at the slightest interval. The composition of "Landscape of Krumau (City and River, 1916)" is held together by angles, folds and tensions rather than by ideal pose. In "Landscape of Krumau (City and River, 1916)", Schiele maintains the resemblance, but removes the cushion of conventions. In front of "Landscape of Krumau (City and River, 1916)", Schiele retains the resemblance, but removes the cushion of conventions. In front of "Landscape of Krumau (City and River, 1916)", Schiele retains the resemblance, but removes the cushion of conventions. In front of "Landscape of Krumau (City and River, 1916)", Schiele retains the resemblance, but removes the cushion of conventions. In front of "Landscape of Krumau (City and River, 1916)", Schiele retains the resemblance, but removes the cushion of conventions. In front of "Landscape of Krumau (City and River, 1916)", Schiele retains the resemblance, but removes the cushion of conventions Landscape of Krumau (City and River, 1916)" thus belongs to an Austrian history where the image must remain readable while maintaining enough mystery so that the wall does not get bored after three days.
Discover →
#71
Poppy field
The calm depth of "Field of Poppies" arises from a sequence of shots whose logic becomes clearer as the eye slows down. In "Field of Poppies", Klimt works the ornament like architecture: the pattern first attracts, then silently organizes bodies, voids and areas of light. The singularity of "Field of Poppies" appears in the depth, rhythm of the masses and the light that connects the pattern to the sky. In "Field of Poppies", this setting gives the image its own tempo, with less fanfare than an imperial palace but a more lasting memory. "Field of Poppies" thus belongs to an Austrian history where the image must remain readable while maintaining enough mystery so that the wall does not get bored after three days.
Discover →
#72
Farm garden with sunflowers
The colorful accent of "Farm Garden with Sunflowers" acts as a precise signal: it awakens an area, shifts the balance and restarts the entire composition. With "Farm Garden with Sunflowers", Klimt balances decorative surface and real presence. In "Farm Garden with Sunflowers", The eye can admire the patterns, but it always ends up returning to the face, gesture or landscape that holds the whole thing together. In front of "Farm Garden with Sunflowers", the depth, rhythm of the masses and the light that connects the pattern to the sky deserves a second look: the work appears immediate, then reveals a more patient construction than its first effect. "Farm garden with sunflowers" thus belongs to an Austrian story where the image must remain readable while maintaining enough mystery so that the wall does not get bored after three days.
Discover →
#73
Park at Kammer Castle
The soft gravity of "Park at Kammer Castle" avoids emphasis while retaining enough tension so that the subject never turns into simple decor. The first strength of "Park at Kammer Castle" comes from the passage between material and sign. In "Park at Kammer Castle", Klimt lets the color describe the subject, then entrusts the patterns with the task of adjusting their breathing. The character of "Park at Kammer Castle" comes from the play between depth, the rhythm of the masses and the light which connects the pattern to the sky. In "Park at Kammer Castle", Klimt lets the color describe the subject, then entrusts the patterns with the task of adjusting their breathing. The character of "Park at Kammer Castle" comes from the play between depth, the rhythm of the masses and the light which connects the pattern to the sky. In "Park at Kammer Castle", this organization prevents the image from remaining decorative and retains real inner tension. "Park at Kammer Castle", this organization prevents the image from remaining decorative and retains real inner tension. "Park at Kammer Castle" " thus belongs to an Austrian story where the image must remain readable while maintaining enough mystery so that the wall does not get bored after three days.
Discover →
#74
Church in Cassone (landscape with cypress)
The contained movement of "Church in Cassone (landscape with cypress)" circulates between figures, objects or patterns without needing a spectacular effect to remain sensitive. With "Church in Cassone (landscape with cypress)", Klimt balances decorative surface and real presence. In "Church in Cassone (landscape with cypress)", the eye can admire the patterns, but it always ends up returning to the face, gesture or landscape that holds the whole together. In front of "Church in Cassone (landscape with cypress)", the eye can admire the patterns, but it always ends up returning to the face, gesture or landscape that holds the whole together. In front of "Church in Cassone (landscape with cypress)", the eye can admire the patterns, but it always ends up returning to the face, gesture or landscape that holds the whole together. In front of "Church in Cassone (landscape with cypress)", the depth, the rhythm of the masses and the light which connects the pattern to the sky deserves a second look: the work appears immediate, then reveals a more patient construction than its first effect. "Church in Cassone (landscape with cypress)" thus belongs to an Austrian history where the image must remain readable while maintaining enough mystery so that the wall does not get bored after three days.
Discover →
#75
Judith and Holofernes
The deceptive clarity of "Judith and Holofernes" facilitates entry into the image, then reveals a more complex organization than this first visual politeness. In "Judith and Holofernes", Franz Anton Maulbertsch leads the gaze in diagonals, shortcuts and bright foci. In "Judith and Holofernes", the baroque story advances with enough energy to give the frame the very reasonable impression that it should move away. To look at "Judith and Holofernes", one must follow the pose, the gaze and the distance between the model and the spectator; this is where the work gains its depth and avoids being reduced to a famous silhouette. "Judith and Holofernes" thus belongs to one austrian story where the image must remain readable while maintaining enough mystery so that the wall does not get bored after three days.
Discover →Maulbertsch, Troger, Waldmüller, Platzer, Schuch and Huber place modernity in a longer Austrian history.
#76
The Sacrifice of Iphigenia
The active space of "The Sacrifice of Iphigenia" places as much importance on intervals as on painted shapes, which gives emptiness a very busy role. In "The Sacrifice of Iphigenia", Franz Anton Maulbertsch leads the gaze in diagonals, shortcuts and bright foci. In "The Sacrifice of Iphigenia", the baroque story advances with enough energy to give the frame the very reasonable impression that it should move away. To watch "The Sacrifice of Iphigenia", the baroque story advances with enough energy to give the frame the very reasonable impression that it should move away. To watch "The Sacrifice of Iphigenia", one must follow the narrative gesture, the direction of the light and the balance between fervor and theater; this is where the work gains its depth and avoids being reduced to a famous silhouette. "The Sacrifice of Iphigenia" thus belongs to an Austrian story where the image must remain readable while maintaining enough mystery so that the wall does not get bored after three days.
Discover →
#77
The Assumption of the Virgin Mary
The structuring color of "The Assumption of the Virgin Mary" does not come after the drawing: it constructs the distances, weights and tempo of the gaze. In "The Assumption of the Virgin Mary", Franz Anton Maulbertsch leads the gaze in diagonals, shortcuts and luminous foci. In "The Assumption of the Virgin Mary", the baroque story advances with enough energy to give the frame the very reasonable impression that it should move away. To watch "The Assumption of the Virgin Mary", the baroque story advances with enough energy to give the frame the very reasonable impression that it should move away. To watch "The Assumption of the Virgin Mary", one must follow the narrative gesture, the direction of the light and the balance between fervor and theater; this is where the work gains its depth and avoids being reduced to a famous silhouette. " The Assumption of the Virgin Mary thus belongs to an Austrian story where the image must remain readable while maintaining enough mystery so that the wall does not get bored after three days.
Discover →
#78
The Academy and its attributes at the feet of Minerva
The decisive detail of "The Academy and its attributes at the feet of Minerva" is not necessarily the most striking; However, it is enough to orient the scene and fix its tone. "The Academy and its attributes at the feet of Minerva" brings together gestures, draperies and light in a scene where nothing remains still for long. In "The Academy and its attributes at the feet of Minerva", Franz Anton Maulbertsch nevertheless maintains a clear hierarchy, so that the show does not turn into a meeting without an agenda. In "The Academy and its attributes at the feet of Minerva", Franz Anton Maulbertsch nevertheless maintains a clear hierarchy, so that the show does not turn into a meeting without an agenda. In "The Academy and its attributes at the feet of Minerva", Franz Anton Maulbertsch nevertheless maintains a clear hierarchy, so that the show does not turn into a meeting without an agenda. In "The Academy and its attributes at the feet of Minerva", Franz Anton Maulbertsch nevertheless maintains a clear hierarchy, so that the show does not turn into a meeting without an agenda. To watch "The Academy and its attributes at the feet of Minerva", Franz Anton Maulbertsch nevertheless maintains a clear hierarchy, so that the show does not turn into a meeting without an agenda. To watch "The Academy and its attributes at the feet of Minerva", Franz Anton Maulbertsch nevertheless maintains a clear hierarchy, so that the work gains its depth and avoids being reduced to a famous silhouette. "The Academy and its attributes at the feet of Minerva" thus belongs to an Austrian history where the image must remain readable while maintaining enough mystery so that the wall does not get bored after three days.
Discover →
#79
Suzanne before the judges
The organized surface of "Suzanne in front of the judges" brings together several reading speeds, from the immediately recognizable image to the chords which require a little more patience. With "Suzanne in front of the judges", Franz Anton Maulbertsch organizes the drama through color and movement. In "Suzanne in front of the judges", the figures respond to each other, the light chooses its side and the space opens like a painted theater stage. To watch "Suzanne in front of the judges", you have to follow the relationship between the subject, the color values and the general construction of the surface; this is where the work gains its depth and avoids being reduced to a famous silhouette. "Suzanne in front of the judges" judges thus belongs to an Austrian story where the image must remain readable while maintaining enough mystery so that the wall does not get bored after three days.
Discover →
#80
Christ and the Captain of Capernaum
The progressive intensity of "Christ and the Captain of Capernaum" begins with a clear pattern and continues in the gaps in material, contour and light. In "Christ and the Captain of Capernaum", Franz Anton Maulbertsch leads the gaze in diagonals, shortcuts and bright foci. In "Christ and the Captain of Capernaum", the baroque story advances with enough energy to give the setting the very reasonable impression that it should deviate. The character of "Christ and the Captain of Capernaum" advances with enough energy to give the frame the very reasonable impression that it should deviate. The character of "Christ and the Captain of Capernaum", the baroque story advances with enough energy to give the frame the very reasonable impression that it should deviate. The character of "Christ and the Captain of Capernaum" comes from the play between narrative gesture, the direction of light and the balance between fervor and theater. In "Christ and the Captain of Capernaum", this organization prevents the image from remaining decorative and maintains real inner tension. "Christ and the Captain of Capernaum" thus belongs to an Austrian history where the image must remain readable while maintaining enough mystery so that the wall does not get bored after three days.
Discover →
#81
The martyrdom of Saint Andrew
The initial silence of "The Martyrdom of Saint Andrew" lets the eye choose its path before the composition reveals its true points of support. With "The Martyrdom of Saint Andrew", Franz Anton Maulbertsch organizes the drama through color and movement. In "The Martyrdom of Saint Andrew", the figures respond to each other, the light chooses its side and the space opens like a painted theater stage. In front of "The Martyrdom of Saint Andrew", the narrative gesture, the direction of the light and the balance between fervor and theater deserves a second look: in front of "The Martyrdom of Saint Andrew", the narrative gesture, the direction of the light and the balance opens like a painted theater scene. In front of "The Martyrdom of Saint Andrew", the narrative gesture, the direction of the light and the balance between fervor and theater deserves a second look: the work appears immediate, then reveals a more patient construction than its first effect. "The Martyrdom of Saint Andrew" thus belongs to an Austrian story where the image must remain readable while maintaining enough mystery so that the wall does not get bored after three days.
Discover →
#82
Glorification of Emperor Joseph II.
The oblique tension of "Glorification of Emperor Joseph II. In "Glorification of Emperor Joseph II."," appears from the first relationships of forms, then gains in precision when the details begin to respond to each other. With "Glorification of Emperor Joseph II. In "Glorification of Emperor Joseph II.", Franz Anton Maulbertsch organizes the drama through color and movement. In "Glorification of Emperor Joseph II.", the figures respond to each other, the light chooses its side and the space opens like a painted theater scene. In front of "Glorification of Emperor Joseph II." Emperor Joseph II. ", the figures respond to each other, the light chooses its side and the space opens like a painted theater stage. In front of "Glorification of Emperor Joseph II.", the figures respond to each other, the light chooses its side and the space opens like a painted theater stage. In front of "Glorification of Emperor Joseph II.", the figures respond to each other, the light chooses its side and the space opens like a painted theater stage. In front of "Glorification of Emperor Joseph II." Emperor Joseph II. ", the figures respond to each other, the light chooses its side and the space opens like a painted theater stage. In front of "Glorification of Emperor Joseph II." Emperor Joseph II. ", the figures respond to each other, the light chooses its side and the space opens like a painted theater stage. In front of "Glorification of Emperor color and the general construction of the surface deserves a second look: the work appears immediate, then reveals a more patient construction than its first effect. "Glorification of Emperor Joseph II. In "Glorification of Emperor Joseph II."," thus belongs to an Austrian history where the image must remain readable while maintaining enough mystery so that the wall does not get bored after three days.
Discover →
#83
The death of Dido
The restrained brilliance of "The Death of Dido" does not deliver all its force immediately; it catches the eye, slows it down and soon requires a more attentive reading. In "The Death of Dido", Franz Anton Maulbertsch leads the gaze in diagonals, shortcuts and bright foci. In "The Death of Dido", the baroque story advances with enough energy to give the frame the very reasonable impression that it should move away. To watch "The Death of Dido", the baroque story advances with enough energy to give the frame the very reasonable impression that it should move away. To watch "The Death of Dido", one must follow the relationship between the subject, the color values and the general construction of the surface; this is where the work gains its depth and avoids being reduced to a famous silhouette. "Didon's death" thus belongs to an Austrian story where the image must remain readable while maintaining enough mystery so that the wall does not get bored after three days.
Discover →
#84
Solomon's judgment
The frontal presence of "The Judgment of Solomon" is as much about the subject as it is about the way in which the painted masses occupy and cut out the available space. In "The Judgment of Solomon", Franz Anton Maulbertsch leads the gaze in diagonals, shortcuts and luminous foci. In "The Judgment of Solomon", the baroque narrative advances with enough energy to give the frame the very reasonable impression that it should deviate. The character of "The Judgment of Solomon" comes from the play between the relationship between the subject, the color values and the general construction of the surface. In "The Judgment of Solomon", the baroque narrative advances with enough energy to give the frame the very reasonable impression that it should deviate. The character of "The Judgment of Solomon" comes from the play between the relationship between the subject, the color values and the general construction of the surface. In "The Judgment of Solomon", this organization prevents the image from remaining decorative and preserves one real inner tension. "The Judgment of Solomon" thus belongs to an Austrian story where the image must remain readable while maintaining enough mystery so that the wall does not get bored after three days.
Discover →
#85
The charlatan
The inner rhythm of "The charlatan" is discovered in stages, between a very readable first effect and more discreet tensions which prolong the gaze. In "The Charlatan", Franz Anton Maulbertsch leads the gaze in diagonals, shortcuts and luminous foci. In "The Charlatan", the baroque story advances with enough energy to give the frame the very reasonable impression that it should move away. The character of "The charlatan" comes from the play between the relationship between the subject, the color values and the general construction of the surface. In "The Charlatan", the baroque story advances with enough energy to give the frame the very reasonable impression that it should deviate. The character of "The charlatan" comes from the play between the relationship between the subject, the color values and the general construction of the surface. In "The charlatan", this organization prevents the image from remaining decorative and retains real inner tension. "The charlatan" thus belongs to an Austrian story where the image must remain readable while maintaining enough mystery so that the wall does not get bored after three days.
Discover →
#86
Coriolanus at the gates of Rome.
The patient construction of "Coriolanus at the Gates of Rome. In "Coriolanus at the Gates of Rome"," gives each area a precise function, even when the touch or gesture seems to have chosen spontaneity. "Coriolanus at the gates of Rome. In "Coriolanus at the gates of Rome.", "brings together gestures, draperies and light in a scene where nothing remains still for long. In "Coriolanus at the gates of Rome.", Franz Anton Maulbertsch nevertheless maintains a clear hierarchy, so that the show does not turn into a meeting without an agenda. In "Coriolanus at the gates of Rome.", Franz Anton Maulbertsch nevertheless maintains a clear hierarchy, so that the show does not turn into a meeting without an agenda. In "Coriolanus at the gates of Rome.", Franz Anton Maulbertsch nevertheless maintains a clear hierarchy, so that the show does not turn into a meeting without an agenda. In "Coriolanus at the gates of Rome.", Franz Anton Maulbertsch nevertheless maintains a clear hierarchy, so that the show does not turn into a meeting without an agenda. In "Coriolanus at the gates of Rome.", Franz Anton Maulbertsch nevertheless maintains a clear hierarchy, so that the show does not turn into a meeting without an agenda. To watch "Coriolanus at the gates of Rome.", Franz Anton Maulberts the way bodies occupy the stage; this is where the work gains its depth and avoids being reduced to a famous silhouette. In "Coriolanus at the gates of Rome"." thus belongs to an Austrian story where the image must remain readable while retaining enough mystery so that the wall does not get bored after three days.
Discover →
#87
Half-naked self-portrait
The mobile balance of "Half-naked Self-Portrait" rests on opposing forces which support each other without ever becoming a perfectly well-bred symmetry. In "Half-Naked Self-Portrait", Gerstl treats resemblance as an unstable material. In "Half-Naked Self-Portrait", the quick touch and the exposed face give the model a direct presence, almost too close for the good manners of worldly portraiture. To look at "Half-Naked Self-Portrait", you have to follow the pose, the look and the distance between the model and the viewer; this is where the work gains its depth and avoids being reduced to a famous silhouette. "Half-naked self-portrait" thus belongs to a story austrian where the image must remain readable while maintaining enough mystery so that the wall does not get bored after three days.
Discover →
#88
The Schoenberg Family
The directed light of "The Schönberg Family" not only illuminates the subject; it also decides on hierarchy, movement and distance. "The Schönberg Family" shows Gerstl at the moment when the portrait ceases to smooth its subject. In "The Schönberg Family", the material remains visible, the contours breathe and the person represented seems to live before even agreeing to smile. The character of "The Schönberg Family" comes from the play between pose, gaze and distance between the model and the spectator. In "The Schönberg Family", the material remains visible, the contours breathe and the person represented seems to live before even agreeing to smile. The character of "The Schönberg Family" comes from the play between pose, gaze and distance between the model and the spectator. In "The Schönberg Family", this organization prevents the image from remaining decorative and retains real inner tension. "The Schönberg Family" thus belongs to an Austrian story where the image must remain readable while maintaining enough mystery so that the wall does not get bored after three days.
Discover →
#89
Mathilde Schoenberg
The visible material of "Mathilde Schönberg" keeps track of the brush and transforms the surface into an experience, not just an open window on a stage. "Mathilde Schönberg" shows Gerstl at the moment when the portrait stops smoothing her subject. In "Mathilde Schönberg", the material remains visible, the contours breathe and the person represented seems to live before even agreeing to smile. In front of "Mathilde Schönberg", the relationship between the subject, the color values and the general construction of the surface deserves a second look: in front of "Mathilde Schönberg", the relationship between the subject, the color values and the general construction of the surface deserves a second look: the work appears immediate, then reveals a more patient construction than its first effect. "Mathilde Schönberg" thus belongs to a story austrian where the image must remain readable while maintaining enough mystery so that the wall does not get bored after three days.
Discover →
#90
Portrait of Henryka Cohn
The tight framing of "Portrait of Henryka Cohn" forces each form to count and gives the slightest interval a fairly considerable responsibility. In "Portrait of Henryka Cohn", Gerstl treats resemblance as an unstable material. In "Portrait of Henryka Cohn", the quick touch and the exposed face give the model a direct presence, almost too close for the good manners of worldly portraiture. The character of "Portrait of Henryka Cohn" comes from the play between pose, gaze and distance between the model and the viewer. The character of "Portrait of Henryka Cohn" comes from the play between pose, gaze and distance between the model and the viewer. In "Portrait of Henryka Cohn", this organization prevents the image from remaining decorative and retains real inner tension. " Portrait of Henryka Cohn thus belongs to an Austrian story where the image must remain readable while maintaining enough mystery so that the wall does not get bored after three days.
Discover →
#91
The Palace Guard
The calm depth of "The Palace Guard" arises from a sequence of shots whose logic becomes clearer as the eye slows down. "The Palace Guard" reveals in Ludwig Deutsch a precise attention to reality. In "The Palace Guard", the details do not accumulate to take inventory: they give the subject a historical and sensitive presence. The character of "The Palace Guard" comes from the play between the relationship between the subject, the color values and the general construction of the surface. In "The Palace Guard", the details do not accumulate to make the inventory: they give the subject a historical and sensitive presence: they give the subject a historical and sensitive presence. The character of "The Palace Guard" comes from the play between the relationship between the subject, the color values and the general construction of the surface. In "The Palace Guard", this organization prevents the image from remaining decorative and preserves a real inner tension. "The Palace Guard" thus belongs to one austrian story where the image must remain readable while maintaining enough mystery so that the wall does not get bored after three days.
Discover →
#92
The Scribe
The colorful accent of "The Scribe" acts as a precise signal: it awakens an area, shifts the balance and restarts the entire composition. With "The Scribe", Ludwig Deutsch constructs the image in successive shots and lets the relationship between the subject, the color values and the general construction of the surface lead the eye without unnecessary effect. The character of "The Scribe" comes from the play between the relationship between the subject, the color values and the general construction of the surface. In "The Scribe", this organization prevents the image from remaining decorative and preserves a real inner tension. "The character of "The Scribe" comes from the play between the relationship between the subject, the color values and the general construction of the surface. In "The Scribe", this organization prevents the image from remaining decorative and preserves real inner tension. "The Scribe" comes from the play between the relationship between the subject, the color values and the general construction of the surface. In "The Scribe", this organization prevents the image from remaining decorative and preserves real inner tension. "The Scribe" comes from the play between the relationship between the subject, the color values and the general construction of the surface. In "The Scribe", this organization prevents the image from remaining decorative and preserves real inner tension. "The Scribe" thus belongs to an Austrian story where the image must remain readable while maintaining enough mystery so that the wall does not get bored after three days.
Discover →
#93
The Departure of the Prodigal Son
The flexible gravity of "The Departure of the Prodigal Son" avoids emphasis while retaining enough tension so that the subject never transforms into a simple setting. In "The Departure of the Prodigal Son", Paul Troger leads the gaze in diagonals, shortcuts and bright foci. In "The Departure of the Prodigal Son", the baroque story advances with enough energy to give the frame the very reasonable impression that it should move away. The character of "The Departure of the Prodigal Son" comes from the play between the narrative gesture, the direction of the light and the balance between fervor and theater. In "The Departure of the Prodigal Son", the baroque story advances with enough energy to give the frame the very reasonable impression that it should deviate. The character of "The Departure of the Prodigal Son" comes from the play between the narrative gesture, the direction of the light and the balance between fervor and theater. In "The Departure of the Prodigal Son", this organization prevents the image from remaining decorative and preserves one real inner tension. "The Departure of the Prodigal Son" thus belongs to an Austrian story where the image must remain readable while maintaining enough mystery so that the wall does not get bored after three days.
Discover →
#94
The Return of the Prodigal Son
The contained movement of "The Return of the Prodigal Son" circulates between figures, objects or motifs without needing a spectacular effect to remain sensitive. In "The Return of the Prodigal Son", Paul Troger leads the gaze in diagonals, shortcuts and bright foci. In "The Return of the Prodigal Son", the baroque story advances with enough energy to give the frame the very reasonable impression that it should move away. In front of "The Return of the Prodigal Son", the narrative gesture, the direction of the light and the balance between fervor and theater deserves a second look: the work appears immediate, then reveals a more patient construction than its first effect. "The Return from the Prodigal Son thus belongs to an Austrian story where the image must remain readable while maintaining enough mystery so that the wall does not get bored after three days.
Discover →
#95
Still life with apples
The deceptive clarity of "Still Life with Apples" facilitates entry into the image, then reveals a more complex organization than this first visual politeness. With "Still Life with Apples", Carl Schuch constructs the image in successive shots and lets the relationship between the subject, the color values and the general construction of the surface lead the eye without unnecessary effect. The visual story of "Still Life with Apples" is mainly about the relationship between the subject, the color values and the general construction of the surface. In "Still Life with Apples", the details then become actors rather than very well dressed accessories. "Still Life with Apples" thus belongs to an Austrian story where the image must remain readable while maintaining enough mystery so that the wall does not get bored after three days.
Discover →
#96
View of the Prater in Vienna, with a tree on the right
The active space of "View of the Prater in Vienna, with a tree on the right" gives as much importance to intervals as to painted shapes, which gives the void a very busy role. With "View of the Prater in Vienna, with a tree on the right", Ferdinand Georg Waldmüller constructs the image in successive planes and lets the depth, the rhythm of the masses and the light which connects the pattern to the sky lead the eye without unnecessary effect. The character of "View of the Prater in Vienna, with a tree on the right", Ferdinand Georg Waldmüller constructs the image in successive planes and lets the depth, the rhythm of the masses and the light which connects the pattern to the sky lead the eye without unnecessary effect. The character of "View of the Prater in Vienna, with a tree on the right" comes from the play between depth, the rhythm of the masses and the light which connects the pattern to the sky. and it retains real inner tension. "View of the Prater in Vienna, with a tree on the right" thus belongs to an Austrian history where the image must remain readable while maintaining enough mystery so that the wall does not get bored after three days.
Discover →
#97
Elegant company in a palace interior
The structuring color of "Elegant company in a palace interior" does not come after the drawing: it constructs the distances, weights and tempo of the gaze. In "Elegant Company in a Palace Interior", Franz Christoph Janneck starts from a clearly identifiable subject and gives it weight through light, material and a composition held without stiffness. The singularity of "Elegant Company in a Palace Interior" appears in the relationship between the subject, color values and the general construction of the surface. In "Elegant Company in a Palace Interior", Franz Christoph Janneck appears in the relationship between the subject, color values and general surface construction. In "Elegant Company in a Palace Interior", this setting gives the image its own tempo, with less fanfare than a palace imperial but a more lasting memory. "Elegant company in a palace interior" thus belongs to an Austrian history where the image must remain readable while maintaining enough mystery so that the wall does not get bored after three days.
Discover →
#98
The Fight of the Centaurs and the Lapiths
The decisive detail of "The Fight of the Centaurs and the Lapiths" is not necessarily the most striking; However, it is enough to orient the scene and fix its tone. With "The Fight of the Centaurs and the Lapiths", Johann Georg Platzer organizes the drama through color and movement. In "The Fight of the Centaurs and the Lapiths", the figures respond to each other, the light chooses its side and the space opens like a painted theater stage. In "The Fight of the Centaurs and the Lapiths", the figures respond to each other, the light chooses its side and the space opens like a painted theater stage. In front of "The Fight of the Centaurs and the Lapiths", the figures respond to each other, the light chooses its side and the space opens like a painted theater stage. In front of "The Fight of the Centaurs and the Lapiths", the figures respond to each other, the light chooses its side and the space opens like a painted theater stage. In front of "The Fight of the Centaurs and the Lapiths", the figures respond to each other, the light chooses its side and the space opens like a painted theater stage. In front of "The Fight of the Centaurs and the Lapiths", the tension of the story, the symbolic signs and the way in which the bodies occupy the stage deserves a second look: the work seems immediate, then reveals a more patient construction than its first effect. "The Fight of the Centaurs and the Lapiths" thus belongs to an Austrian history where the image must remain readable while maintaining enough mystery so that the wall does not get bored after three days.
Discover →
#99
The Lament of Christ
The organized surface of "The Lamentation of Christ" brings together several reading speeds, from the immediately recognizable image to chords that require a little more patience. With "The Lamentation of Christ", Wolf Huber constructs the image in successive shots and lets the narrative gesture, the direction of light and the balance between fervor and theater lead the eye without unnecessary effect. In front of "The Lamentation of Christ", the narrative gesture, the direction of light and the balance between fervor and theater lead the eye without unnecessary effect. In front of "The Lamentation of Christ", the narrative gesture, the direction of light and the balance between fervor and theater lead the eye without unnecessary effect. Before "The Lamentation of Christ", the narrative gesture, the direction of light and the balance between fervor and theater merit a second look: the work appears immediate, then reveals a more patient construction than its first effect. "The Lamentation of Christ" thus belongs to one austrian story where the image must remain readable while maintaining enough mystery so that the wall does not get bored after three days.
Discover →
#100
Tribute to Empress Marie-Thérèse
The progressive intensity of "Homage to Empress Maria Theresa" begins with a clear pattern and continues in the differences in material, contour and light. In "Homage to Empress Maria Theresa", Franz Anton Maulbertsch leads the gaze in diagonals, shortcuts and bright foci. In "Homage to Empress Maria Theresa", the baroque story advances with enough energy to give the frame the very reasonable impression that it should deviate. The visual story of "Homage to Empress Maria Theresa", the baroque story advances with enough energy to give the frame the very reasonable impression that it should deviate. The visual story of "Homage to Empress Maria Theresa" is mainly due to the relationship between the subject, the color values and the general construction of the surface. In "Homage to Empress Marie-Thérèse", the baroque story advances with enough energy to give the frame the very reasonable impression that it should deviate. The visual story of "Homage to Empress Marie-Thérèse", advances with enough energy to give the frame the very reasonable impression that it should deviate. The visual story of "Homage to Empress Marie-Thérèse" is mainly due to the relationship between the subject, the color values and the general construction of the surface. In "Homage to Empress Marie-Thérèse", the baroque story advances with enough energy to give the frame the very reasonable impression that details then become actors rather than very well dressed props. "Homage to Empress Marie-Thérèse" thus belongs to an Austrian story where the image must remain readable while maintaining enough mystery so that the wall does not get bored after three days.
Discover →What the ranking reveals
One hundred paintings, three changes in visual regime
The journey goes from baroque storytelling to 19th century observation, then to decorative surface and expressionist body. Austria does not replace one style with another: it makes them discuss, sometimes quite vividly.
Decorating can bring drama
In Klimt, the motif does not soften the subject: it envelops it, structures it and gives it an almost architectural authority.
The line becomes a voice
Schiele and Gerstl show that an outline, a touch or a void can tell the worry as clearly as a face.
The baroque remains behind the scenes
The ample gestures, the directed light and the taste for spectacle survive even in the ruptures of Viennese modernity.
An Austrian story in five dates
Five benchmarks to cross the ranking
Wolf Huber inscribes figures and landscapes in an expressive nature which gives the Danube school its character.
Troger and Maulbertsch gave late Austrian Baroque its bold shortcuts, rapid colors and very shy skies.
Waldmüller imposes luminous observation of the portraits, countryside and society of Biedermeier.
Klimt and his companions left conservative institutions to open Vienna to modern research and applied arts.
Klimt and Schiele died the same year; their works, however, continue to define a major part of Austrian modernity.
Austrian painting in depth
From baroque Vienna to modernity that no longer holds in place
The story begins well before 1900. Wolf Huber, Johann Georg Platzer, Paul Troger and Franz Anton Maulbertsch show an Austria where the religious panel, the mythological scene and the baroque fresco already organize the light like a spectacle. At Maulbertsch, the figures swirl with such energy that the ceiling seems to have forgotten its main mission: to remain quiet.
In the 19th century, Ferdinand Georg Waldmüller brought a clearer observation of faces, countryside and daily life. Carl Schuch densifies still life, while Ludwig Deutsch pushes orientalist precision to the smallest chiseled metal. This diversity reminds us that Austrian painting is not suddenly born in a Viennese living room with a cup of coffee and a manifesto under his arm.
With Klimt, the Viennese Secession transformed painting into a total surface. The portrait, the landscape, the allegory and the ornament advance together. The Kiss, Judith I, Danaé or Adèle Bloch-Bauer I are famous because they bring together human presence and decor without letting one serve as wallpaper for the other. Gold catches the eye; construction makes it stay.
Schiele removes much of this trappings and keeps the nerve. His bodies, self-portraits and towns seem exposed to too bright a light to allow worldly pose. Portrait of Wally, Death and the Maiden, The Embrace or Four Trees show that a thin line can carry a lot of weight, which should reassure well-trimmed pencils.
Richard Gerstl occupies a briefer but decisive place. His portraits of the Schönberg family and his half-naked self-portrait shift the resemblance towards a more urgent painting. Between Klimt and Schiele, he reminds us that Viennese modernity does not follow a single avenue: it willingly takes the side streets, especially when they are a little hectic.
The ranking first favors international notoriety, presence in major museums and the historical role of each painting. The following ranks complete the story with the portraits, landscapes, religious scenes and baroque works retained here. The titles, artists and images are duplicated, because two different frames do not magically transform the same painting into a new discovery.
Notices add dates, collections and dimensions when Wikipedia, Wikidata or museums allow them to be verified. These markers are not there to recite a sheet: they indicate the time, scale and real place of the work. A monumental painting and a small intimate portrait can share a digital wall, but they do not speak with the same voice.
For decoration, Klimt brings brilliance and structure, Schiele brings intensity, Waldmüller brings clarity, Maulbertsch brings movement and Gerstl brings a rougher presence. The best choice is therefore not necessarily the highest rank: it is the painting whose energy corresponds to the room, the format and the level of conversation that we agree to have with our wall.
Four reading keys
How to look at these hundred paintings
Following the ornament, the line, the light and the space allows you to move from a baroque altarpiece to an expressionist portrait without losing the thread or your coffee.
See what structures
In Klimt, motives do not fill voids: they distribute bodies, statuses and tensions on the surface.
Measure nervousness
A broken outline at Schiele or an open touch at Gerstl indicates the condition of the subject as much as its silhouette.
Identify who is leading the scene
Maulbertsch concentrates the action, Waldmüller clarifies reality and Klimt sometimes transforms brilliance into matter.
Compare theater and silence
Baroque fills the frame; the towns of Schiele and the landscapes of Klimt, on the contrary, know how to make the void work.
Museums, collections and notices
Continue after the hundredth painting
The Belvedere, the Leopold Museum, Wikipedia, Wikidata and Wikimedia Commons allow you to check dates, dimensions, collections and variations of titles. Vienna likes complex stories; good records prevent them from becoming confusing.
In Alpha Reproduction
01Gustav KlimtThe masters of Austrian painting02Egon SchieleThe masters of Austrian painting03Franz Anton MaulbertschThe masters of Austrian painting04Richard GerstlThe masters of Austrian painting05Paul TrogerThe masters of Austrian painting06Carl SchuchThe masters of Austrian painting07Ferdinand Georg WaldmüllerThe masters of Austrian painting08Austrian paintings - Top 285 masterpiecesCollections & guides09All reproductions of paintingsCollections & guidesMuseums and references
01Belvedere - permanent collectionMuseum & reference02Belvedere - Gustav Klimt collectionMuseum & reference03Leopold Museum - Austrian collectionMuseum & reference04Leopold Museum - Egon SchieleMuseum & reference05Leopold Museum - Schiele collection onlineMuseum & reference06Wikipedia - Viennese SecessionMuseum & reference07Wikidata - Austrian paintingsMuseum & reference08Wikimedia Commons - Paintings from AustriaMuseum & referenceFrequently asked questions
Austrian painting without getting stuck in front of The Kiss
The essential answers to understanding Klimt, Schiele, the Viennese Secession and the older roots of the ranking.
What is the most famous Austrian painting?
Gustav Klimt's Kiss is generally the most famous image in Austrian painting. Preserved at the Belvedere in Vienna, it has become a global icon of the Viennese Secession.
Why do Klimt and Schiele dominate this ranking?
Their international notoriety, the importance of their innovations and the number of paintings available explain their strong presence. The ranking also reserves a place for the Baroque and Biedermeier periods as well as Gerstl, Maulbertsch and Waldmüller.
What is the Viennese Secession?
Founded in 1897, the Viennese Secession brings together artists who wish to move away from institutional conservatism and open Austrian arts to modern research, graphics, architecture and applied arts.
Where to see the major works of Klimt and Schiele?
The Belvedere notably preserves The Kiss and a major collection by Klimt. The Leopold Museum has the most important collection of Egon Schiele and a central ensemble devoted to Austrian modernity.
Does the classification only contain paintings?
Yes. The products selected are paintings, panels, frescoes or painted sketches. Identified posters, photographs, sculptures and drawings are excluded from this selection.
How are duplicates avoided?
The verification compares products, standardized titles, Wikidata identities and visual footprints of images. A documented variant may remain; an identical image or the same repeated painting leaves the classification.
Why do Baroque works appear after Klimt and Schiele?
The classification first favors world-famous and appreciated works, then broadens the chronological journey. This allows you to start with immediate landmarks before discovering the older roots of Austrian painting.
Which Austrian paint to choose for a modern interior?
A geometric landscape by Klimt or an urban view by Schiele fits easily into a contemporary interior. For a more classic presence, Waldmüller or Maulbertsch bring more narration and historical depth.
0 comments