Completed Projects

The Belvedere's in-house research work is complemented by external research projects that are funded by third parties. Research results obtained from such projects find their way into various exhibition and publication projects and are therefore also accessible to the interested public.

Frau im Archiv des Research Center
Photo: Clemens Niederhammer, © Belvedere, Vienna

Neue Freie Presse [New Free Press] from 1901 to 1910


Research project underwritten by the Austrian National Bank's Anniversary Fund.
Running time: October 1, 2013, to September 3, 2015
Project manager: Alfred Weidinger
Project collaborators: Julia Dostal and Luzia Reinthaler

Research Center, Aktenwand
Foto: Clemens Niederhammer, © Belvedere, Wien

The reception of Austrian and international art scenes as reflected in the Neue Freie Presse daily newspaper from 1901 to 1910.

This Belvedere research project aimed to make all relevant art historical content published in the Austrian daily newspaper Neue Freie Presse accessible to researchers and the public alike. The specific period concerned was from 1901 to 1910, deemed one of the most critical decades for Austrian art, cultural, and intellectual history.

During the time frame the project identified as most relevant, print media were the most important sources of information for the reception of visual art. The Neue Freie Presse, then the leading newspaper of the Habsburg Monarchy, was published 12 times a week. The in-depth investigation of the most influential daily newspaper of the relevant period was considered an urgent desideratum of Austrian art historical research, and its undertaking has markedly improved the state of research for this crucial period.

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  The Nötsch Circle


Initiated by the Federal Ministry of Education, Science and Culture, this research project conducted between 1999 and 2004 focused on the artists of the Nötsch Circle.  In the process, all available works of the Nötsch Circle were cataloged, thoroughly and scientifically documented, and made public in an image database. It is now a reliable foundation for future scientific study and evaluation. 

Project collaborators: Sigrid Diewald, Bettina Schweighofer

Porträts der vier männlichen Mitglieder des Nötscher Kreis
Nötscher Kreis
© Belvedere, Vienna


The Nötsch Circle comprised four painters: Franz Wiegele (1887–1944) and Sebastian Isepp (1884–1954), both of whom were born in the village of Nötsch in the Carinthian Gailtal, and Anton Kolig (1886–1950) and Anton Mahringer (1902–1974) who made their home there, hailing from Moravia and Germany, respectively. Within their individual approaches, each of these painters supported the principle of creating space through color and thus contributed in an outstanding and instrumental way to the art historical phenomenon of an independent Austrian Expressionism.

The Nötsch Circle, therefore, ranks among the most influential artist groups in Austria between the two world wars and played a significant role in shaping the image of Austrian painting in the first half of the 20th century. The group's prominence was by no means confined to their immediate realm of Carinthia; it can be instead placed in a global context. The artists' extensive travel activities and their many complex relationships with intellectuals of the time are of great cultural and historical interest.


The Nötsch Circle

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The Hagenbund’s International Network (1900 to 1938)


Research project underwritten by the Austrian National Bank's Anniversary Fund.
Running time: April 2013 to April 2015
Project manager: Matthias Boeckl
Administrator: Harald Krejci
Project collaborators: Verena Gamper, Maximilian Kaiser, Kerstin Jesse, Axel Köhne, and Harald Krejci

Ausschnitt aus dem Hagenbund Plakat
Hagenbund Plakat
© Belvedere, Vienna

Compared to the Secession and the Künstlerhaus, the Hagenbund was by far the most versatile of the three significant artist associations that dominated the artistic and cultural life of Vienna up to the beginning of the Second World War.  Under the Hagenbund umbrella, groups who were politically and socially marginalized based on their nationality, gender, religion, age, or simply because of their preferred style also found a place. The specific makeup of its membership was one of the reasons for both the domestic and international success of the Hagenbund. The association came to an historical end with its dissolution in 1938, the same time that its archives were also destroyed. What has been entirely preserved for scholarly research about the Hagenbund artist association are catalogues of the major biannual exhibitions and corresponding reviews in the daily newspapers. Also preserved have been individual members' partial and split estates, which are now scattered over several institutional and private collections. Research has drawn from these collections since the rediscovery of the Hagenbund in the 1970s.


Interactive Visualization

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The International Network

A key aspect of the Hagenbund, as yet still unresearched at the commencement of this project, was its national and international positioning starting with the departure of Gustav Klimt and others from the Secession until its dissolution by the National Socialists in 1938. Today, we can speak of a Hagenbund network that was established locally and operated internationally. But previously, there was little research into contacts with artists from the Czech Republic, Hungary, Poland, Ukraine, Germany, Slovakia, and Slovenia, and therefore the question of their influence on stylistic approaches adopted by various Viennese artists was not known in detail or subject to an accurate art historical assessment. Only a conscientious study of sources concerning the various international networks of artists and critics, of art historians and columnists close to the Hagenbund, provided a new and broadened perspective on the development of art in Austria and Vienna.




Network Analysis

Linking art history and sociology offers the opportunity to review source materials based on the method of network analysis. This approach, which has been adopted in art history for quite some time now, provides a differentiated insight into the social dynamics of the art field and is an appropriate tool to apply in art historical analysis and evaluation.

On the heels of academia’s more than thirty years’ research into the Hagenbund, the Secession, the Künstlerhaus, and the gallery scene, the project took on the goal of opening new perspectives for scholarly debate on the Hagenbund artists’ association by conducting in-depth foundational research and critically reviewing existing sources. In recent years, art historical network research has also attracted the interest of the research community at large. (Burcu Dogramaci and Karin Wimmer, eds., Netzwerke des Exils. Künstlerische Verflechtungen, Austausch und Patronage nach 1933, Berlin 2011).





It was our objective to not only present a comprehensive account of the relationships between the artists of the Hagenbund, but to also examine their connections with other institutions both in Vienna and throughout Europe. After all, a detailed description of the connections between artists on the one hand, and between artists, critics, journalists, exhibition organizers, and cultural politicians on the other, presents an opportunity to clarify why, at specific times, particular art movements such as Expressionism, New Objectivity, Magical Realism, or Abstraction come into prominence. The project was intended to counter what was thus far only rudimentary coverage of the Hagenbund, despite historical reappraisals since 1993. Updated biographies of individual artists and the near-complete clarification of their exhibition histories and Hagenbund activities have shed new light on a critical chapter of Austrian art history.



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