Yess it‘s finally happening! My webcomic is in the making 😍😭

#webcomic #thefalsegod #comic #comicartist #austrianartist

Pirate who looks disgusted

I love to play around with my OCs 💜 giving them ugly faces makes them real

#oc #webcomic #austrianartist #owncharacter #art #digitalart #meme #memeart

Royal Collection records identify Munni as a 16-year-old sweeper, or mehtrani, from Lahore in the Punjab region of British India (today in Pakistan), a worker from one of the lowest-ranked caste communities whose essential cleaning labor was often treated as socially “unclean” and disregarded. In 1886, Queen Victoria commissioned Austrian painter Rudolf Swoboda, born in Vienna in 1859, to travel through India and paint the peoples of her empire; over forty of these portraits, including Munni’s, were later hung together in the Durbar Corridor at Osborne House. The vertical panel shows a young South Asian girl in quiet profile, her body turned to the left (our right). A warm red tunic, edged with a narrow band of gold, wraps her torso and rises toward her neck, its rich color glowing against a plain, softly textured background. Large hoop earrings threaded with tiny glass beads catch the light, while her dark hair, partly covered, falls back in loose strands under a thin beige covering that extends across her body. Swoboda models her medium-brown skin with careful, naturalistic highlights along cheek, nose and lips, so that her features feel observed rather than idealized. The panel pulls us into an intimate distance, as if we’ve paused beside her in a brief, thoughtful stillness during her day. Swoboda had impressed the Queen with his portraits of “live” Indian artisans at the Colonial and Indian Exhibition in London and painted "Munni" on site from close observation, using oil on a small wooden panel to preserve fine details of clothing, jewelery and expression. Seen today, the work sits uneasily between imperial cataloguing and individual presence: commissioned to exemplify a “type,” Munni nevertheless appears as a specific teenager with a name, history and life. Her steady, gaze to the side invites us to recognize both the power inequalities that shaped her portrayal and the quiet dignity she maintains within them.

"Munni" by Rudolf Swoboda (Austrian) - Oil on panel / 1886–1888 - Royal Collection, Osborne House (Isle of Wight, UK) #WomenInArt #RudolfSwoboda #RudolfSwobodaderJüngere #Swoboda #art #artText #BlueskyArt #RoyalCollectionTrust #OsborneHouse #PortraitofaGirl #SouthAsianArt #IndianArt #AustrianArtist

msn.com names Grhard Petzl among the top 10 most creative artists

Happy to be featured at "msn" News-site as one of the most creative artists of 2025. If you would like to get your very own special artwork in bronze or chocolate made just for you, please DM me.

#art #sculptures #gerhardpetzl #austrianartist #contemporaryart #pressiqa #bronzesculptures

Native American Art
31 in acrylics on red cedar 850
#WomenInArt #art #artText #artwork #EgonSchiele #Schiele #AustrianArtist #AustrianArt #oilpainting #PortraitofaWoman #LentosKunstmuseum #BlueskyArt #VienneseExpressionist #Expressionism

A young woman stands facing us within a shallow, flattened space. Her wavy long, dark brown hair falls loose past her shoulders; her skin is light, with a faint rose warmth at the cheeks. She wears a modest, long-sleeved dress with a high neckline. Its folds are indicated by taut, economical brushstrokes rather than soft volume. She is framed by a reddish, triangular field that rises like an apex behind her head and shoulders, set against earthy browns and oranges. Austrian artist Egon Schiele’s contour lines are sharp and irregular, darkly encircling her arms, jaw, and collar. Her gaze is direct and steady though a little guarded with her lips closed. Whether she stands or sits is intentionally ambiguous. Trude Engel was the daughter of Schiele’s Viennese dentist; the portrait grew from that relationship and an arrangement that exchanged treatment for art. Later technical study revealed an earlier composition beneath the paint: an allegorical figure with a skull-like head, aligning with Schiele’s recurring themes of life and death. Family correspondence recounts that, as a teenager, Trude slashed the canvas in anger; the repairs remain part of the work’s material history and can be seen. Painted as both Schiele’s reputation and controversy rose, the image condenses his radical portrait language: incisive line, compressed space, and psychological charge. The triangular, mantle-like field behind Trude reads as both halo and warning sign, intensifying her composed yet uneasy presence. In 1912 Schiele was jailed briefly, an ordeal that sharpened his sense of human vulnerability; in his prison drawings he simply wrote, “I am human,” a sentiment that resonates in Trude’s unsentimental, searching gaze that is less a likeness than a revelation of being.

Portrait of Trude Engel by Egon Schiele (Austrian) - Oil on canvas / c. 1912 - Lentos Kunstmuseum (Linz, Austria) #WomenInArt #art #artText #artwork #EgonSchiele #Schiele #AustrianArtist #AustrianArt #oilpainting #PortraitofaWoman #LentosKunstmuseum #BlueskyArt #VienneseExpressionist #Expressionism

Austrian artist Gustav Klimt began this portrait in 1903, after seeing the sixth-century mosaics of Ravenna, which he called of “unprecedented splendor.” Their shimmer helped catalyze his Golden Phase, in which paint, silver, and gold leaf fused icon and portrait. The sitter, Adele Bloch-Bauer was a Jewish Viennese patron and salonnière and was the only person Klimt painted twice in full-length portraits, signaling their artistic rapport and the family’s support of the Viennese avant-garde. A luminous, mosaic-like field of gold envelops the pale, oval-faced Adele with cropped dark hair and crimson lips. Centered frontally, she gazes outward, her forearms lifted and hands clasped into an elegant, slightly tense knot at her chest. A flat, patterned sheath and diaphanous golden mantle merge with the background, studded with triangles containing “all-seeing” eye motifs and tiny raised monograms “AB.” A diamond choker hugs her neck; bracelets and rings glint at the wrists and fingers. Around her head, a halo of ornament presses forward; below, a band of black-and-white trim at the lower left hints at the artist’s studio furnishings. Space feels ambiguous as she seems at once seated and standing as spirals, rectangles, and circles ripple across the surface like Byzantine tesserae bits of stone and glass pulsing with light. Commissioned by her husband, industrialist Ferdinand Bloch-Bauer, the work originally hung in their Vienna, Austria home. In 1938, the Nazis seized the family’s Klimts; in Vienna the canvas was retitled “Woman in Gold” to obscure Adele’s identity. Decades later, her niece Maria Altmann pursued restitution; following the landmark U.S. Supreme Court decision enabling the case and an Austrian arbitration, the painting was returned to the heirs. In 2006, Ronald S. Lauder acquired it for the Neue Galerie in New York, where it has remained on permanent view and is often described as the museum’s “Mona Lisa.”

"Portrait of Adele Bloch-Bauer I" by Gustav Klimt (Austrian) – Oil, gold, and silver on canvas / 1907 – Neue Galerie New York #WomenInArt #GustavKlimt #Klimt #art #artText #artwork #AustrianArtist #PortraitofaWoman #NeueGalerieNewYork #NeueGalerie #gold #fin-de-siècle #ViennaSecession #ArtNouveau

Anmeldung Lupins Markt 8&9.11.2025 Willkommen zur Anmeldung für einen Künstler:innenstand beim Lupins Markt am 8.&9. Novmeber 2025! Der Markt wir voraussichtlich von 10 bis 18 Uhr offen sein. Aufbau wird jeweils 1,5 H vor und nach Ma...

Too my #AustrianArtist friends and fellow #DoodleGroupAustria members. Lupins Markt still has some slots for tabling at the market. It will be on the 8th and 9th of November in St. Pölten. You can sign up here: s.surveyplanet.com/aqv7y2o1

Rica Fuentes Martinez: Drawing the Invisible Lifeforms That Shape Our World Rica Fuentes Martinez turns fungi, microbes, and cellular forms into precise ink drawings, poetic systems where invisible ecologies become visible.

Rica Fuentes Martinez @ricafuentes.bsky.social turns fungi, microbes, and cellular forms into precise ink drawings, poetic systems where invisible ecologies become visible.
Read more via #munchiesartclub about #ricafuentesmartinez #austrianartist #fungi #microbes #cellular #contemporaryart

During 1 of 6 trips to India between 1880 and 1891, Austrian artist Rudolf Swoboda created this head-and-shoulders portrait of a beautiful young South Asian woman against a warm brown ground. A dark veil edged with shimmering silver discs and tasseled lace frames her face and covers her hair, falling over both ears. She wears a pale pink tunic and layered jewelry: a choker with a red lozenge pendant and long necklaces of rectangular silver amulets. The young woman averts our gaze with downcast eyes to our left. Her full lips are at rest while a jeweled gold nose rings pierce her nostrils. Her smooth skin is softly lit, with highlights on the nose and left cheek. In 1886, the Austrian painter Rudolf Swoboda reached the subcontinent with a royal brief to record the “various types” of India for Queen Victoria of England. Over two years, he painted dozens of heads for the corridors at Osborne House, sparked by the Queen’s delight in his portraits of artisans at the 1886 Colonial and Indian Exhibition. Among them is this portrait of Naslej shown in the Durbar Corridor at Osborne House. His route on this trip ran via Afghanistan and Kashmir; in Lahore he encountered Naslej, a 19-year-old Muslim woman recently widowed. He paints her quietly with a veil with metallic discs, twin nose rings, and layered amulet necklaces that attend to particulars over costume types. For Naslej, the sitting fixed her presence at a moment of upheaval; for Swoboda, it fulfilled a commission that balanced ethnographic curiosity with humane portraiture. Swoboda worked for Victoria from 1885 to 1893 and later portrayed Abdul Karim, the Munshi. His Indian series of around 40 portraits remains a singular late-Victorian record of individual lives within an imperial frame.

"Naslej" by Rudolf Swoboda (Austrian) - Oil on panel / c. 1886-1888 - Royal Collection Trust (London, England) #WomenInArt #art #PortraitofaWoman #RCT #artwork #artText #RudolfSwoboda #Swoboda #AustrianArtist #IndianArt #BlueskyArt #RoyalCollectionTrust #poc #WomanPortrait #OilPainting #bskyart

Sirinbai Ardeshir was a 14-year-old Parsi girl from Neemuch (or Nimach) in the Malwa region of Madhya Pradesh in central India. The Parsis (or Parsees) are a Zoroastrian ethnic group in the Indian subcontinent. They are descended from Persian refugees who migrated to the Indian subcontinent during and after the Arab-Islamic conquest of Iran in the 7th century, when Zoroastrians were persecuted by Muslims. The word Parsi is derived from the Persian language, and literally translates to Persian. This painting by Austrian artist Rudolf Swoboda is a close-up portrait of a young Sirinbai, focusing primarily on her face and upper body. Her skin tone is warm and her dark brown eyes are captivating, looking directly at us with an expression that blends serenity with a hint of underlying emotion as if she is about to ask or tell us something interesting. She wears a loose-fitting, pale pink robe. Her dark hair is neatly arranged, partially covered by a light-colored veil intricately adorned with dark floral and geometric patterns in muted blues, greens, and earth tones, particularly along a wide band that drapes down her chest. The paint application is somewhat visible, giving the piece a slightly impressionistic feel. The background is a plain, warm, golden-tan color, to contrast the cooler tones of her clothing and make Sirinbai stand out prominently. A small number "5" is visible in the lower left corner, likely a notation associated with the artwork's provenance or exhibition history. Swoboda was a 19th-century Austrian Orientalist painter. He was sometimes known as "Rudolf Swoboda The Younger," to distinguish him from his uncle Rudolf, who was also an artist. He studied under his father, Eduard Swoboda, and his uncle Leopold Carl Müller, who traveled with him to Egypt in 1880. His sister was the portrait painter Josefine Swoboda, known for her portraits of the British royal family. U.K. Queen Victoria personally paid Swoboda's way to paint in india from 1886-1888.

"Sirinbai Ardeshir" by Rudolf Swoboda (Austrian) - Oil on panel / 1886-1888 - Royal Collection Trust (London, England) #WomenInArt #art #PortraitofaWoman #RudolfSwoboda #Swoboda #AustrianArtist #artText #artwork #RCT #RoyalCollectionTrust #FineArt #IndianArt #BlueskyArt #ArtoftheDay #OilPainting

Expressionistic Painting of a white cat with oversized ears. #kunstösterreich #herbertbrandl #gato #cat #catsinart #kat #katt #neko #猫 #ネコ #kot #고양이 #кішка #chatsdinstagram #feline #figurativepainting #whitecat #gatoblanco #weißkatze #chatblanc #animalsinart #arteanimal #contemporarypainting #austrianartist #artanimalier #zeitgenössischemalerei #kedi #catart ‎#חתול

Credit: Herbert Brandl (b Graz, Austria, 1959-) via Steindruck Chavanne Pechmann. Monotypes. I appreciate the feline representation.

#lithography #herbertbrandl #artsky #art #artprint #austrianartist #cat #catsky #feline #whitecat #gatoblanco #catsinart #animalart #figurativeart #catpainting

Wilhelm Von Heydebrand
Austrian Landscape Oil on Linen 1905 Goetheanum Designer Hand Carved Wood Frame

More info:
buff.ly/pdadwZb

#oilpaintingoncanvas #oilpaintingartist #fineart #fineartforsale #ornateframe #ornateframes #austrianartist #austrianart #handcarvedwood #oilonlinen

I wish I knew more about this 1931 portrait by Austrian artist Rudolf Lehnert that blends formality with a touch of quiet intimacy to depict a young fair-skinned woman with short blonde curly hair, wearing a black long-sleeve dress with large white lace cuffs, and a silver cross necklace, while holding a single orchid. She is the central focus, occupying most of the canvas. Her hair is a light blonde, styled in soft, shoulder-length curls. Her expression is serious and reserved, perhaps slightly melancholic, though not unhappy. Her eyes are a light grey. Her skin tone is fair with a subtle rosy hue on her cheeks. Her black long-sleeved dress is simple in cut, but features a striking contrast of textures and colors. A white, Peter Pan style collar stands out against the dark dress. This collar has a delicate lace trim that is repeated on the cuffs of the long sleeves. The cuffs are puffed, adding some volume to the otherwise relatively plain sleeves. The dress is form-fitting, showing the subtle curves of her slender body. The unidentified woman wears a long silver chain around her neck that ends in a small ornate silver cross. On the index finger of her right hand is a silver lace ring. Her hands are elegantly placed near her waist, holding a single, vibrant pinkish-purple orchid, offering a splash of color against her dark clothing … and perhaps a symbol of decadence or secrecy. Lehnert (1893-1932) was an Austrian painter associated with the New Objectivity (Neue Sachlichkeit) German art movement that emerged in the 1920s as a reaction to Expressionism. It focused on depicting reality in a detached, objective manner, often with a critical eye towards the social and political realities of the Weimar Republic. The movement had a significant presence in Austria, particularly in Vienna and was characterized by a return to realism, with precise details and sharp forms. Its name is derived from the title of a 1925 exhibition curated by Gustav Hartlaub in Mannheim.

Porträt by Rudolf Lehnert (Austrian) - Oil on canvas / 1931 - Tiroler Landesmuseum (Innsbruck, Austria) #WomenInArt #art #portrait #portraitofawoman #ArtText #AustrianArt #RudolfLehnert #Lehnert #TirolerLandesmuseum #Ferdinandeum #womensart #AustrianArtist #TyroleanStateMuseum #1930s #OilPainting

Can a cat sculpture explain your anxiety better than your therapist? (It just might—if Sebastian Mittl made it.) Austrian artist Sebastian Mittl turns ego, anxiety, and inner-child chaos into brilliantly raw art. Recommended by curator Gvantsa Jishkariani, his work blends Pokémon, Catholic aesthetics, and more.

Can a cat sculpture explain your anxiety better than your therapist? (It just might—if Sebastian Mittl made it.)

#sebastianmittl #austrianartist #egoart #contemporaryart #gvantsajishkariani #promisingartist

Blue

#art #artist #asdartist #acrylicpaint #paintingstudy #painting #austrianartist #bluepainting

Acrylic paint Study

The more I Look the more Bowie it gets

#art #artist #asdartist #acrylicpaint #paintingstudy #painting #austrianartist

Sonja Knips was born Freifrau Potier des Echelles and was one of the few people from nobility Austrian artist Gustav Klimt portrayed. In 1896, she married industrialist Anton Knips; however, many believe she most likely had an affair with Klimt before her marriage. The portrait of Knips is Klimt's first masterpiece in the "new" Art Nouveau style and was first presented to the public at the 2nd Exhibition of the Vienna Secession in Nov-Dec 1898. One interesting aspect of this piece is the soft, delicate application of paint which blurs the contours slightly, similar to a pastel painting. This gives the picture a mysterious and almost reverie-like quality. Another novel aspect is the square picture format which brings balance and calmness to the portrait's composition. Klimt shows Knips sitting in an armchair, her upper body bent slightly forward. Her left hand is propped up on the armrest, as if she is about to stand up. She looks directly into the eyes of the viewer. Her gaze is particularly emphasized by fine highlights in her eyes and has a mysterious aura. Klimt put a lot of care and attention into reproducing the magnificent light pink silk dress of the model with finely juxtaposed brushstrokes. In 1898, art writer Ludwig Hevesi especially admired the following about this painting: "the trickling pink of the seated young lady, his first portrait in this intentional newfangled manner." Above the head of Knips is a magnificent bouquet of lilies reaching the top edge of the painting. Klimt painted these with great care. With the exception of these flowers, the entire portrait background is kept dark and not characterized further. Knips holds a small book bound in red leather in her right hand. It is a sketchbook with drawings by Klimt which the master artist gave to her. After Klimt's death in 1918, Knips was among those concerned about Klimt's legacy and supported the Austrian Gallery in acquiring the painting "Medicine" by Gustav Klimt in 1919.

Sonja Knips by Gustav Klimt (Austrian) - Oil on canvas / 1897-1898 - Belvedere (Wien, Austria) #womeninart #art #oilpainting #BelvedereMuseum #BelvederePalace #fineart #artwork #GustavKlimt #Klimt #AustrianArtist #GalerieBelvedere #ArtNouveau #AustrianArt #womensart #portraitofawoman #1890s #fashion

Hey Guys!
From now on, u will get an Adoption card for every little Buddy you buy from us at a con 💜😆

Second pic: first packaging prototype

#smallbusiness #convention #conventionaustria #Austria #artist #austrianartist #cuteart #kawaii #aesthetic #smallbuisnessowner

Red Hair

#art #paint #acrylics #facepainting #portrait #artistonbluesky #artistonbsky #redhairportrait #austrianartist

#dieganzewoche #magazine #stefandraschan #austria #austrianartist

Ash

#art #Kunst #arcylics #Acrylfarben #painting #Portrait #womanportrait #asdartist #austrianartist #greyscale

Olga Wisinger-Florian (Austrian, 1844–1926). Stiefmütterchen und Schmetterlinge (Pansies and butterlies). #olgawisinger-florian #painting #pansies #butterflies #austrianartist #stilllife #moodimpressionism

Day 5: The Museum of Women in the Arts asks us to name at least 5 women artists. For #WomensHistoryMonth, I am naming 1 a day.

#NorbertineBresslern-Roth 2/2
#AustrianArtist
#ViennaSecession
#AnimalPainter
#Painter
#Printmaker
#WomenInArt
@artherstory.bsky.social

Day 5: The Museum of Women in the Arts asks us to name at least 5 women artists. For #WomensHistoryMonth, I am naming 1 a day.

#NorbertineBresslern-Roth 1/2
#AustrianArtist
#ViennaSecession
#AnimalPainter
#Painter
#Printmaker
#WomenInArt
@artherstory.bsky.social

Both during Klimt's lifetime and later, there have always been examples of an eroticizing aim to recreate his art or even go beyond it. Other authors have pointed out that the erotic could be regarded as a socio-political and culturally progressive force. Thus, Klimt is seen as an artist who contributed considerably to the emancipation of women and the rediscovery of the lost power of the erotic element, an artist who was critical of his time and its outmoded cultural morality. "Klimt's permanent achievement," wrote Han Bisanz in 1984, "is that he liberated the artistic depiction of human beings from the fetters of morality and opportunism and that he made visible by means of his style, the basic mental images of man's inner life, images that point to a timeless element in the course of a person's individual destiny. And finally, as the quoted passage seems to indicate, Klimt can be seen as a psychologist, as someone who analyzed psychological phenomena and who pursued similar aims to those of his great contemporary, Sigmund Freud. – gustaveklimt.com

Gustav Klimt (Austrian, 1862-1918) • The Maiden • 1913 (see ALT text)
#GustaveKlimt #klimt #artnouveau #art #painting #ArtHistory #ViennaSecession #symbolism #AustrianArtist #EroticismInArt #WomenInPaintings #Art&Beauty

Lady in Yellow (sometimes known as Woman in a Yellow Dress) is a stunning painting of Maximilian Kurzweil’s beautiful wife Martha Guyot. Her arms are draped over the back of a chaise longue which is upholstered in a green patterned fabric, as she gazes out at us in a languid and relaxed pose. There is a supreme look of contentment in her expression. The brilliant yellow dress with its many tones is in total harmony with the sofa and compliments her pale limbs. In 1895, Kurzweil married Martha, who was from Brittany. They spent their summers in Brittany and their winters in Vienna. In 1896, at the age of twenty nine he became a member of the Künstlerhaus in Vienna but the following year he, along with Kustav Klimt, became founder-member of the Vienna Secession, also known as the Union of Austrian Artists, which was a group of Austrian artists who had resigned from the Association of Austrian Artists, housed in the Vienna Künstlerhaus. This movement included painters, sculptors, and architects. He was also editor of the Secessionist magazine Ver Sacrum (Sacred Spring). Kurzweil participated in their exhibitions with paintings including this one. Kurzweil who was born in 1867 in Bisenz, which is now known as Bzenec in the Czech Republic. He first studied art at the Academy of Fine Arts Vienna. At the age of twenty five, he travelled to Paris and attended the Académie Julian and it was here that he first exhibited his paintings. Whilst living in France, he visited the Breton harbour town of Concarneau and fell in love with the area, its vivid sunrises and sunsets, its people and the busy port with its sailing ships and fishing fleet. In 1894, he returned to Vienna and the Academy and studied the art of portraiture. Kurzweil began to be influenced by French art especially Impressionism and plein-air painting which showed him the way to use lighter – much brighter colors than those he used before. It all led to this gorgeous painting of Martha in yellow.

Dame in Gelb (Lady in Yellow) by Max Kurzweil (Austrian) - Oil on canvas / 1899 - Wein Museum (Vienna, Austria) #womeninart #art #womensart #portraitofawoman #MaxKurzweil #artwork #oilpainting #Kurzweil #WeinMuseum #yellowdress #AustrianArtist #portrait #fineart #portraitofalady #fashion #dress

This painting is of the 1893 Symbolist play "Pelléas and Mélisande" by Belgian playwright Maurice Maeterlinck about forbidden, doomed love. In this scene Melisande, wearing a long red dress and beautiful patterned undershirt is by a stream in the woods where she has lost her golden crown in the water, but does not wish to retrieve it; there she is discovered by her future husband Golaud. They marry, and she instantly wins the favor of Arkël, Golaud's grandfather and king of Allemonde, who is ill. She begins to be drawn to Pelléas, Golaud's brother. They meet by the fountain, where Mélisande loses her wedding ring. Golaud grows suspicious of the lovers, has his son Yniold spy on them, and discovers them caressing, whereupon he kills Pelléas and wounds Mélisande. She later dies after giving birth to an abnormally small girl. Marianne Stokes (née Preindlsberger) was an Austrian painter. She settled in England after her marriage to Adrian Scott Stokes, the landscape painter, whom she had met in Pont-Aven, France. Stokes was considered one of the leading women artists in Victorian England.

Melisande by Marianne Stokes (Austrian) - Tempera on canvas / 1895 - Wallraf–Richartz Museum (Cologne, Germany) #womeninart #art #tempera #MarianneStokes #artwork #fineart #painting #AustrianArtist #WallrafRichartzMuseum #Maeterlinck #Pre-Raphaelite #PreRaphaelite #womensart #artbsky #VictorianArt

Self-Portrait with Striped Shirt (1910)
By Egon Schiele
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#art #artwork #selfportrait #portrait #chalkart #chalk #gouache #austrianart #austrianartist #vienna #expressionism

A woman wearing a loose black robe casually leans against the edge of an orange couch. She rests a cigarette in her right hand on her right knee plus a pearl bracelet on her right wrist. She wears a white headband pulling her long black hair back and a lace black headscarf. Her eyes are focused down to her left avoiding the artist gaze.

Nefusa by Leopold Carl Müller (Austrian) - Oil on canvas / Late 1800s - Kunsthistorisches Museum (Vienna, Austria) #womeninart #oilpainting #KunsthistorischesMuseum #LeopoldCarlMüller #Müller #art #artwork #painting #austrianartist #womensart #portraitofawoman #LeopoldCarlMuller #fineart #woman