Visualization of the Collection Contents

Chapters in this book

1. Frontmatter 1
2. Contents 4
3. Foreword 8
4. Introduction 13
5. Chapter I Prince Eugene of Savoy as an Impresario of Art 1697–1736
6. Images and Quotes 17
7. 1 The Belvedere : Construction and Interiors 25
8. 2 The Set of Engravings 26
9. 3 The Marble Gallery Sculptures 41
10. Patronage and Collecting in the Habsburg Empire c. 1700 44
11. 4 The Winter Palace 49
12. Prestige and Passion : Prince Eugene of Savoy’s Picture Collection at His Garden Palace 52
13. Collect, Collate, Catalogue : Prince Eugene of Savoy and the Beauty of Classification 64
14. 5 The Theresianum Library Cabinets from Prince Eugene’s Winter Palace 73
15. Chapter II The Imperial Collections in the Belvedere 1776–1891
16. Images and Quotes 75
17. 6 The Ambras Collection 93
18. 7 The First Restoration Studio 99
19. The Emergence of the Art Museum in the Eighteenth Century 102
20. The Museumification of the Imperial Picture Gallery 110
21. Opening and Public Access in the Upper Belvedere around 1800 118
22. 8 The Exchange of Pictures between Florence and Vienna 125
23. New Concepts for the Display of Painting Schools in the Early Nineteenth Century 128
24. 9 Napoleonic Looting and Evacuation of Artworks 133
25. The “Modern School” of the Imperial Picture Gallery 136
26. 10 The Picture Gallery and the Academy of Fine Arts 143
27. Chapter III From the Modern Gallery to the Austrian Gallery 1903–1938
28. Images and Quotes 145
29. 11 A Kiss for the Modern Gallery 159
30. Museums of Modern Art in the Late Habsburg Empire 170
31. 12 The Imperial-Royal Traveling Museum 175
32. A Palace as “Refuge” for Modernism 178
33. 13 Hans Tietze’s Museum Reform 187
34. Art for All ? The Austrian State Gallery between Art Appreciation and Education 192
35. 14 From the Austrian State Gallery Society to the Friends of Austrian Museums in Vienna, 1911/12–1938 195
36. The Foundation of the Baroque Museum in the Lower Belvedere 202
37. 15. The Ephesos Museum Visits the Lower Belvedere 207
38. Origins of the Museum of Medieval Art 210
39. Chapter IV The Museum during the Nazi Period 1938–1945
40. 16 “Degenerate Art” 215
41. Images and Quotes 223
42. 17 The Reich Chamber of Fine Arts, Vienna Office 229
43. 18 Deaccession 230
44. The Complicity of Museums in National Socialist Cultural Policy 240
45. The Austrian Gallery during the Nazi Period 246
46. 19 Art Market and Auctions in Vienna 1938–45 253
47. National Socialist Art Policy in the Gau City of Vienna 258
48. 20 The Gustav Klimt Exhibition of 1943 267
49. Chapter V Changes and Continuities After 1945
50. Images and Quotes 269
51. 21 The “Vienna 1900” Brand 293
52. 22 Mapping the Hood : The Belvedere Quarter 307
53. “Our Modernism Is Homegrown !” Austria’s Delayed Reconnection with the International Avant-Garde after 1945 312
54. In Search of (a Place for) Contemporary Art The Programmatic Development from 1945 to the Present 320
55. 23 The History of the Museum of the Twentieth Century / 20er Haus 325
56. 24 Restitutions after 1945 and the 1998 Art Restitution Act 331
57. 2000 to 2020 : Nineteen Years of Growth 336
58. Critical Niches : Democratization Processes in the Belvedere’s Recent History 344
59. 25 Expansions of the Museum into the Digital Space 349
60. 26 Museum Self-Perceptions under the Microscope 353
61. Perspectives 2023
62. STELLA ROLLIG in Conversation with WOLFGANG ULLRICH 356
63. Appendices
64. Chronology 368
65. Visualization of the Collection Contents 374
66. Bibliography 378
67. Index of Names 388
68. Authors 392
69. Picture Credits 396
70. Abbreviations 397
71. Colophon 398