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#Leopold Museum
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Egon Schiele
Girl with crossed legs. 1911
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pamietniko · 1 year
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Egon Schiele’s "Three Standing Women” in the Leopold Museum
Vienna, Austria
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Egon Schiele, 1890-1918 | Leopold Museum, Wien
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blueiskewl · 1 year
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Climate Activists Attacks Gustav Klimt's 'Death and Life' in Austria
Just Stop Oil activist threw black liquid on the 1915 painting 'Death and Life' by Gustav Klimt at the Leopold Museum in Vienna, Austria.
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peoplematchingartworks · 11 months
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gregor-samsung · 1 year
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“ Mi è capitato, qualche tempo fa, di visitare una mostra al Leopold Museum di Vienna; una accanto all’altra, nella stessa sala, comparivano due opere apparentemente simili, anzi una era la citazione dell’altra: la prima era una classica tela di Lucio Fontana, coi “tagli” che l’hanno reso famoso, la seconda una tela di Maurizio Cattelan con tre “tagli” alla maniera di Fontana, due orizzontali e uno diagonale disposti in modo che si potessero leggere come la Z di Zorro – “zorro” in spagnolo significa “volpe”: dunque l’operazione di Cattelan consisteva nel prendere in giro l’arte sedicente autentica e nello smascherarne l’astuzia commerciale. Un amico che mi accompagnava, alla mia osservazione che l’opera di Fontana conservava un’energia (come l’ombra del gesto) che era totalmente assente nella tela di Cattelan, rispose usando un aggettivo che non avevo mai sentito: «l’opera di Cattelan è webbabile, l’altra no». Essere “webbabile”, cioè facilmente trasmissibile nell’ambiente digitale, è dunque una dote precisa per i messaggi che oggi vogliano arrivare a tutti. Quella di Cattelan è un’idea*, la tela di Fontana è un testo prodotto dalla passione di un corpo, non un episodio di guerriglia semiologica. I tagli di Fontana non assomigliano agli stencil di Banksy, dove il coraggio e la deliziosa fantasia inventiva sono esterni al disegno, tutti estrovertiti sull’azione civica; nella tela di Fontana il coraggio è incorporato nell’opera: è come le pennellate grumose di Van Gogh, come le colature di Pollock, come l’irriproducibile vibrazione sui mattoncini della vermeeriana Veduta di Delft, che cambiano luce quando l’osservatore si avvicina. “
 * “La cucina di ‘Elle’ è una cucina di idee” scriveva già nel 1957 il Barthes di Miti d’oggi.
Walter Siti, Contro l’impegno. Riflessioni sul Bene in letteratura, Rizzoli (collana Narrativa italiana), 2021. [Libro elettronico]
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artsculturevienna · 1 year
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Helene FUNKE (1869-1957) “Früchte/Freundinnen” - “Fruits/Friends” (1918/19) Öl auf Leinwand - Oil on canvas Museum Ortner Wien / Vienna 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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musenundmuseen · 1 month
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Wien, Montag, 25. März 2024
Leopoldmuseum
Unter dem Titel "Wien 1900. Aufbruch in die Moderne" lockt das Leopoldmuseum mit einer neuen Einrichtung der Sammlungspräsentation. Auf drei Etagen werden die Bestände der Moderne dargeboten, die den KernderSammlung ausmachen: Schiele, Klimt, Gerstl, Kolig, Kokoschka etc. Auf jeder Etage macht man einen kleinen Rundgang um den Innenhof. Ich begann auf der Eingangsebene und stieg dann von Etage zu Etage die Treppe hoch. Oben angekommen, fand ich den Ausgangspunkt all dieser Modernismen: Makart und Genossen, von denen sich die Jüngeren so radikal abgesetzt hatten. Es war eine verblüffende Erfahrung, dieser Rückgang in der Zeit, ein eigentlicher Rückfall in eine frühere Ästhetik.
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lolsup · 2 years
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My decennial pilgramage to the Leopold day 1. (The first image is of the natural history museum, not the Leopold)
Also… a sobering reminder… global pandemics are horrible. Not just the one we’re in right now… but the 1918 Spanish flu took both Klimt AND Schiele not that long after…
So guys, get vaccinated and boosted, wash your hands, wear a mask. Stay safe.
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rosaurasaurio · 10 months
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On lake Atersee, Gustav Klimt, 1900.
For the time, this landscape was an unusual and courageous depiction of Klimt’s much-loved Attersee. Courageously, the totality of the water surface is rendered here as an almost abstract color composition and encompasses the majority of the painting. With a certain freedom, Klimt depicts the waves as turquoise speckles, which progressively shrink toward the top of the painting and thereby suggest the illusion of depth. The dark tree tops of the island of Litzlberg in the upper-right corner are the only clearly defined objects on the horizon. Of all of his landscape paintings, this is the one where Klimt ventured furthest into abstract art. The unusual turquoise color is reminiscent of contemporaneous pictures by the French Impressionist Claude Monet, but also pays homage to the unique topographical attributes of the Attersee, which features such colors during the morning hours in the summer. Leopold Museum.
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Egon Schiele
Squatting Female Nude. 1910
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hyperallergic · 1 year
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Yesterday, November 15, the climate emergency activism group Letzte Generation’s Austrian branch took to the Leopold Museum in Vienna for another demonstration in the recent wave of substance-based attacks on revered masterpieces.
In a video posted by Letzte Generation, the activist that threw the black substance can be heard shouting “we have known about the problem for 50 years — we must finally act, otherwise the planet will be broken,” while trying to elbow themselves free from the museum guard’s restraint.
The museum reported to the Austria Press Agency (APA) that while the painting went unharmed, damages to the frame, wall, and floor were “evident and significant.”
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vertigoo · 9 months
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Max Bill - Concentration towards Light (1964)
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Death and Life, G. Klimt, 1908-1915 | Leopold Museum, Wien
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noradaydreams · 7 months
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Got to have a kiss in front of the most famous one! Feeling lucky.🤎
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peoplematchingartworks · 11 months
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