图片文件尺寸: 5046×7500 px

法学，1907年-古斯塔夫·克里姆特

-Gustav Klimt (1862-1918) was an 奥地利艺术家 symbolist painter and one of the most prominent members of the Vienna Secession movement.

Jurisprudence, too, is laden with anxiety: A condemned man is depicted surrounded by three female furies and a sea monster, while in the background, the three goddesses of Truth, Justice, and Law look on. They are shown as the Eumenides, punishing the condemned man with an octopus\'s deadly embrace. It is not surprising that the conflict in Jurisprudence has been seen as \"psycho-sexual\"

Jurisprudence, 1907 (Oil on Canvas), by Gustav Klimt

1907-2001 1907 - 2001年-Le-Pho-黎譜-
（1907-2001 1907 - 2001年-Le-Pho-黎譜-）

图片文件尺寸: 3928 x 2615px

打倒布尔什维克主义。布尔什维克主义带来战争和毁灭，饥饿和死亡

` Nieder mit dem Bolschewismus. Bolschewismus bringt Krieg und Verderben, Hunger und Tod (1919) -

图片文件尺寸: 4038 x 3911px

亚历山大·科恩设计书籍插图从无政府主义到君主主义电报-狮子座设置

~ Ontwerp boekillustratie voor Alexander Cohens Van Anarchist tot Monarchist; De Telegraaf--Leo Gestel (荷兰艺术家, 1881- 1941)

图片文件尺寸: 4246×6300 px

海吉亚，1907年-古斯塔夫·克里姆特

-Hygieia, detail from Medicine.
Medicine was the second of University of Vienna Ceiling Paintings, presented in March 1901 at the tenth Secession Exhibition. It featured a column of nude figures on the right hand side of the painting, representing the river of life. Beside it was a young nude female who floated in space, with a newborn infant at her feet, representing life. A skeleton represented death in the river of life. The only link between the floating woman and the river of bodies is two arms, the woman\'s and a man\'s as seen from behind. Figure of Hygeia, the mythological daughter of the god of medicine is shown at the bottom of the painting. Hygieia stood with the Aesculapian snake around her arm and the cup of Lethe in her hand, turning her back to mankind. Klimt conveyed an ambiguous unity of life and death, with nothing to celebrate the role of medicine or the science of healing.
Klimt was loyal to traditional depictions of the goddess, providing her with a snake and the cup of Lethe. However, above Hygeia, Klimt painted a large column of light, and placed on either side several nude figures and, most notably, a skeleton to symbolize Death. For this Klimt received much criticism from physicians and university officials who were offended by what they saw as his lurid, almost pornographic depiction, of the human form, and for suggesting that the healing arts were unable to prevent death. Klimt\'s University paintings, of which Medicine was a part, were some of his first works to explore the female form in vivid detail.

图片文件尺寸: 3397×5000 px

医学，1900-1907-古斯塔夫·克里姆特

-Medicine was the second of University of Vienna Ceiling Paintings, presented in March 1901 at the tenth Secession Exhibition. It featured a column of nude figures on the right hand side of the painting, representing the river of life. Beside it was a young nude female who floated in space, with a newborn infant at her feet, representing life. A skeleton represented death in the river of life. The only link between the floating woman and the river of bodies is two arms, the woman\'s and a man\'s as seen from behind. Figure of Hygeia, the mythological daughter of the god of medicine is shown at the bottom of the painting. Hygieia stood with the Aesculapian snake around her arm and the cup of Lethe in her hand, turning her back to mankind. Klimt conveyed an ambiguous unity of life and death, with nothing to celebrate the role of medicine or the science of healing.
Klimt was loyal to traditional depictions of the goddess, providing her with a snake and the cup of Lethe. However, above Hygeia, Klimt painted a large column of light, and placed on either side several nude figures and, most notably, a skeleton to symbolize Death. For this Klimt received much criticism from physicians and university officials who were offended by what they saw as his lurid, almost pornographic depiction, of the human form, and for suggesting that the healing arts were unable to prevent death. Klimt\'s University paintings, of which Medicine was a part, were some of his first works to explore the female form in vivid detail.

AN AUSTRIAN NEOCLASSICAL CARVED GILTWOOD ARMCHAIR, VIENNA, LATE 18TH CENTURY-AN-AUSTRIAN-NEOCLASSICAL-CARVED-GILTWOOD-ARMCHAIR-VIENNA-LATE-18TH-CENTURY
（奥地利新古典主义雕刻吉尔特伍德扶手椅，维也纳，18世纪晚期-安-奥地利-新古典主义-雕刻-吉尔特伍德-扶手椅-维也纳-18世纪末）

图片文件尺寸: 4601 x 6597px

完美主义者-阿尔方斯.穆夏

` Cycles Perfecta (1897) --Alphonse Mucha (Czech, 1860-1939)

图片文件尺寸: 3157×5200 px

超经验主义，1916年-卡齐米尔·马列维奇

-Suprametism, 1916 (Oil on Canvas), by Kazimir Malevich

图片文件尺寸: 3704×5000 px

至上主义者组合-妮娜·柯冈

-Suprematist Composition, 1920-1922 (Oil on Canvas), by Nina Kogan