Ludwig Heinrich JUNGNICKEL (1881-1965)
“Drei blaue Aras” - “Three Blue Macaws” (1909)
Farbholzschnitt - Colour woodcut
Sammlung / Collection ALBERTINA Wien / Vienna
Ausstellung / Exhibition
Dürer, Munch, Miró.
The Great Masters of Printmaking
ALBERTINA Wien / Vienna - 2023
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Miss Emilie Floege, 1902. Gustav Klimt
Oil on canvas.
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Hekate by Maximilian Pirner (1901)
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Koloman Moser, marbled paper technique, 1904. Vienna, via Leopoldmuseum
For this age-old process a shallow tray is filled with oil paints which are then made into patterns or various motifs using a needle or marbling comb. Subsequently, a piece of paper is dipped into the tray to absorb the paint. These papers were either used as endpapers or covers for books, or as autonomous artworks.
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Apartment, 5 Nádor street, Budapest, 1909. From the Budapest Municipal Photography Company archive.
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Anonymous. Gustav Klimt, Emilie und Helene Flöge, Litzlberg at Attersee, Austria, 1906 | src Ostlicht
"This private photograph is captivating because of the contrast between the different silhouettes of the three figures, which reveals the emancipatory radicalism of the reform dress. Implicitly, as one might say, this also "quotes" the design element of repeated curved lines, as found in many of Gustav Klimt's compositions."
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Austrian fashion designer Emilie Flöge, 1900s
She was Gustav Klimt’s muse, lover, and lifelong companion. The necklaces were gifts from Klimt.
Coco Chanel is often heralded as the sole designer to revolutionize modern womenswear, and it’s true that she popularized trousers and comfortable two-piece suits at a time when upper-class women had limited sartorial options. But by the time Chanel opened her salon at 31 Rue Cambon in Paris in 1910, Flöge had been producing cutting-edge designs in Vienna for several years, already carving out new roles for women in the industry with her empire-waist garments, wide sleeves and intricately-detailed panels inspired by Hungarian and Slavic embroidery, marking a departure from the restrictive, corseted dresses that were the mainstays for the time.
In 1904, Emilie and her two sisters opened the fashion house Schwestern Flöge on Vienna’s bustling Mariahilfer street—an unusual venture for three unmarried, thirty-something women to take on then. Klimt and Flöge’s relationship was also extremely unusual: they were romantic partners that never got married nor had children, and maintained a level of independence unprecedented for the time.
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Moriz Nähr. Gustav Mahler. Vienna. 1907
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Silk Fan by Ella Weltmann, Photographed by Wilhelm Gmeiner in Vienna, 1910. From the exemplary sample collection at MAK Museum Vienna, inventory number: KI 7782-25. One of a total of 91 photographs of objects of Austrian decorative arts from a MAK exhibition in 1910/1911.
(Source: sammlung.mak.at)
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Art Nouveau table lamp with silver mermaid by Moritz Hacker, 1900, Vienna, AUSTRIA
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Georg JUNG (1899-1957)
“Der Irrtum” - “The Fallacy” (1920/21)
Öl auf Leinwand / Oil on canvas
Privatsammlung Salzburg / Private collection, Salzburg
Ausstellung / Exhibition
HAGENBUND - Von der gemäßigten zur radikalen Moderne
HAGENBUND - From moderate to radical Modernism
LEOPOLD MUSEUM Wien / Vienna - 2022/23
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Paula Thury - View of the Former Officers’ Mess and the Monument to Karl Philipp Fürst zu Schwarzenberg on Schwarzenbergplatz (1903)
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Concordia Ball Fan, 1908
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Gustav Klimt, Standing female nude (Study for the Three Gorgons, ‘Beethoven Frieze’), 1901
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Palais Albert of Rothschild, Vienna, Austria,
Aquarell by Ludwig Rösch, 1907
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Farm Garden with Sunflowers, Gustav Klimt (1913). Belvedere Museum in Vienna.
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