The difference I see between real life and virtual is that in real life you can see the paintings up close in person and somethings guides can give you more information about the painting and the museum alone. In virtual tour is more challenging because you have to do more research on the museum and on the paintings they displace. The benefit it has is that in virtual tour is free and you don’t have to travel to the museum across the country. The only setback I could thing about is that maybe one that the website is down, or the museum is no longer available to visit. The only thing is that Leopold Museum doesn’t have virtual tour but it’s okay because I did research on it. The website was friendly and easy to navigate to see all the artwork they displace. “Tre Croci – Dolomite Landscape”This first painting is by Oskar Kokoschka and Alma Mahler were entangled in an obsessive love affair that lasted from 1912 to 1915 and led to a highly productive artistic phase for the artist. In August 1913, they embarked on a journey through the South Tyrolean Dolomites. Mahler wrote in her memoirs that their life together had been “all about work”: “In the morning, we would go into the dense forest, looking for the darkest green spots, and, when we reached a clearing, we found young horses at play; that fascinated Oskar Kokoschka. We had his sketchbook and colored pencils with us – despite his fear of being alone, he remained by himself and created uniquely beautiful drawings.” Enriched by numerous nuances of green and blue, reinforced with purple accents, the imposing mountain scenery gives a charged, dramatic impression, which is affirmed by the note “After the storm” on a sketch. In this painting I can see the everything clear. The proportion of the painting is great, his colors he used for the drawing would be cool colors. His tone is mild since is not that light or
dark and his mood of the drawing is calm because it’s a forest with horses and it seem very calm and peaceful. Perspective of this painting is a far-away since the horses and trees look far.“On Lake Attersee”The second painting is by Gustav Klimt. 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 treetops 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.In this painting I can see that the atmosphere is very calm and relaxing. In my point when I saw this drawing my eyes were focus on the top right-hand corner trying to figure out what structure that was, but I found out it is a little island he drew. Many people comment on this drawing saying that is to close to an abstract painting, but I have to disagree. I see that he used cool color and the texture I see is flat and maybe matte. His tone on the drawing is light and its constant with his colors. Perspective on this painting is close up of the water. The only object that is far-away is the island he painted on the top right corner and the sun.“In Schonbrunn”This third drawing is by Carl Moll cultivated a penchant for atmospheric landscape views and cityscapes from his teacher, Emil Jakob Schindler. Starting in 1900, Moll
developed a subtle painting style focused on the rendering of light that could easily be compared with the poetic charm of Gustav Klimt’s landscapes. An extremely delicate sense of lighting can be found in Moll’s 1910 depiction of the gardens at Schönbrunn Palace. The painter’s perspective radiates out from a shaded terrain located beneath the towering hedges that line the park’s pathways and ends up at one of the palace grounds’ numerous fountains. The fountain shines under the glaring sunlight and, behind it, the view is opened up onto a further garden configuration that is, once again, brightly lit and delimited by the distinctive, tall hedges. Delicate and almost-pointillist dabs of paint convey a sensual experience of hot air and shimmering light.In this painting I can see he is in a park when he created it. He uses cool with warm colors for this painting and the atmosphere seem calm since when you go to a park its very relaxing. His use of light in this painting is great because I see the shadow of the tree in the cement floor and the statue or the person in the middle. The perspective of this painting is a close up and then going to far away with life size object on it. I see 3-D shapes on his painting with 2-D as well. I selected those artworks because I like to see foreign artist and how their artwork looks compared to another artist in the world. What really motivated to choose those artworks was how they used their creativity to paint them and how simple they look and that what I like about art painting. I don’t like the complicated ones and I like artwork that has to do with nature its always inspired me to travel to different parts of the country and to visit they outdoor nature. There painting is popular because the Leopold Museum only displace certain artist. The museum’s holdings are based on the collecting activities of Rudolf and Elisabeth Leopold, two ophthalmologists who as superior connoisseurs amassed a unique collection over the course of
five decades, beginning in the 1950s. Their extraordinary passion for art enabled them to collect artists such as Egon Schiele and Gustav Klimt – whose works, up until the 1960s, were considered taboo and so could be acquired for comparatively modest sums. The world’s most comprehensive Egon Schiele collection was thus established with more than 220 works. In 1994, the Leopold’s contributed the lion’s share of their art treasures – 5,200 works, with an estimated value around 570 million euros – to the newly established Leopold Museum Private Foundation in exchange for payment of 160 million euros by the Republic of Austria and the Austrian National Bank. A portion of their original collection continues to exist in form of the Leopold Private Collection. In 2001, the acquired collection moved into the specially built ‘Leopold Museum’ – designed by architects Laurids and Manfred Ortner – as part of the Museums Quartier complex. Rudolf Leopold served as the museum’s director until his death on June 29, 2010. In addition to the preservation of the collection, its public presentation, and ongoing scholarly reappraisals, a key objective of the Leopold Museum today is the expansion of the collection through acquisitions and the presentation of permanent loans.
