Culture during Covid-19: A Conversation with Vienna’s Kunsthistorisches Museum, Belvedere Museum, Jewish Museum, and Albertina Museum.
By Julia Vassileva
The Covid-19 times brought many governance measures, but the closure of all museums and cultural institutions in Austria in early March 2020 was a particularly sad one. In a city usually vibrant with visitors, a European metropole famous for its art and cultural exhibitions, it was painful to hear about these measures that would disallow the usual weekend-visit to our local museums for Viennese inhabitants just as well as strolls through the world-famous galleries and exhibitions for international audiences.
The following article seeks to shed light on some of the challenges that came with the new situation, illustrated through the stories of four of Vienna’s museums. It will show that while museums did everything they could to cope with the situation, the circumstances during the closure made their work anything but easy. From postponement of exhibitions to the cancellation of a new location opening, the time was demanding and required many extraordinary efforts. I had the chance to interview representatives from Vienna’s Kunsthistorisches Museum, Belvedere Museum, Jewish Museum, and Albertina Museum, who told me about their experiences.
The Kunsthistorisches Museum Vienna
Constructed during times of the Austrian Habsburg Empire, Vienna’s Kunsthistorisches Museum (KHM, ‘Museum of Art History’), one of the largest in the world, was opened to the public in 1891. Walking into the building as a visitor today immediately transfers one into another world: entrance hall, staircase, and cupola hall form an impressive unit; on the way to the cupola hall, Antonio Canova’s ‘Theseus Slaying the Centaur’ can be viewed; a wealth of neo-baroque decorations creates one of the most solemn and splendid interiors of late-nineteenth-century Vienna.[1] The museum today features a picture gallery with pictures by Pieter Bruegel the Elder, which are unique worldwide, as well as masterpieces by Vermeer, Rembrandt, Raphael, Caravaggio, Velázquez, and many more.[2] On the lower floors, the KHM hosts an Egyptian and Near Eastern collection, a collection of Greek and Roman antiquities,[3] and the Kunstkammer (‘arts and natural wonders rooms’).[4] The KHM Museumsverband encloses further museum locations around the city of Vienna, such as the Weltmuseum (the Ethnographic Museum) and the Theatermuseum (the Theatre Museum).
I had the great opportunity to speak to Dr Sabine Haag, director of the KHM, about the Covid-19 situation.
‘The past years were very successful. This pandemic was a first-time event for all of us. There is no scenario to fall back on here, no manual. We had to decide, for example, who we needed on site, how to coordinate online-meetings and to maintain the team spirit,’ Dr Haag told me about the closure of the KHM on 11th of March. ‘Unfortunately, being a federal museum does not mean that you are fully financed: we are only partly financed by the state and the basic payment that we get is currently not enough to cover our expenses… we are a cultural institution, but we operate as any other business and we rely on financial means.
Next to the difficult situation for all our employees, many of which had to be sent into short-time work, a very big issue was ensuring that care is taken of the objects when there is no regular museum operation. Normally, collections and depot rooms are checked every day. We check if the air conditioners are running, water is not dripping in from somewhere, all windows are closed; whether “everything is still there”, so to speak… really quite basic things. We had to make sure that it is also done during this time when the museum is closed.’
A further challenge were all planned exhibitions. The KHM had advertised a large Beethoven exhibition (‘Beethoven Moves’[5]), to celebrate the 250th birthday of Ludwig van Beethoven and his impact on the arts in Austria.
‘Our Beethoven exhibition was scheduled to open just 10 days after the closing. The exhibition was largely finished, but not quite! Some of the loans were still in transport boxes or provisionally unpacked, leaned against a wall, but not yet placed at the fixed exhibition location. Restoration and conservation measures were still needed. We had to check how long the loans were still insured… and we had to contact each individual lender to inquire whether they would agree to the postponement and to us keeping the objects for longer.
We had to make difficult decisions: we could have cancelled “Beethoven”, to begin preparations for a “Titian” exhibition, planned for autumn 2020. The alternative was to show “Beethoven” this autumn and to postpone “Titian”. This is what we have done now. “Titian” includes many international loans, and we currently do not know exactly when and if couriers can travel with the objects. In order to postpone it, again, we had to contact each of the lenders individually and to make arrangements, to inform them and to ask whether the loan would still be available in autumn 2021.’
The sudden closure also impacted marketing, communication, and advertising:
‘For example, we had booked poster spaces that we do not need now; or in some places, a Beethoven exhibition is being advertised that is currently not taking place! ’
Another of the KHM’s locations, the Weltmuseum, had planned a large exhibition on the legendary art and culture of the Aztecs, focusing on tributes and sacrifices that played an important role in the Aztecs’ economic and religious life, with particular attention to the Aztec capital Tenochtitlán.[6] The exhibition was due to begin on 24th of June:
‘It was clear that this would now be impossible. It is an exhibition partnership: the exhibition is currently in Germany, should have come to Vienna, and then on to the Netherlands. So here we had completely different dependencies, we could not decide alone how and whether the exhibition should take place or not. This had to be discussed with the cooperation partners and the authorities in Mexico, for example.
It is situations like this that show how interconnected and international the museums are. When a massive disruptive factor comes up, it naturally upsets many plans and the entire budget. You have to think carefully about which measures to take and when.’
Of course, behind the scenes, the museum involves research too: The Egyptian and Near Eastern Collection of the KHM is among the world’s most important collections of Egyptian antiquities. The more than 17 000 objects date from a period of almost four thousand years[7]:
‘Our colleagues who work on this collection are not affected by “Beethoven” or “Titian”, but they do important work on objects and are involved in research projects, again with schedules. With two months of home office and short-time work, research is nearly impossible. A very difficult situation, because, after all, we are scientific institutions: we are also committed to science.’
Faced with the closure, visitors certainly missed the exhibitions and tried to engage with the museum online. And yet, it was never quite the same experience. Each online tour or online exhibition made one long even more for an actual visit.
‘It is clear that if our analogue museum closes, our digital museum has to open. Our motto was: “the museum comes to you” – we had a very intensive online presence,’ says Dr Haag.
Through the #ClosedButActive, the KHM engaged with visitors on social media such as Facebook, Instagram,[8] and their KHM-app, designed according to a storytelling principle.[9] On Youtube,[10] visitors could view diverse content, e.g. on Caravaggio and Bernini, as well as on the Austrian Empress Elisabeth (Sisi). This was furthered by podcasts on Spotify, featuring stories from the museum and behind-the-scenes interviews, with topics from Ganymed to Beethoven.[11] Furthermore, the KHM’s large Bruegel exhibition from two years ago had resulted in an interactive website where small details in pictures such as the famous ‘Tower of Babel’ can be viewed closely.[12]
‘It is really all about providing a diverse, lively online offering. The basis is always our online collection,’ says Dr Haag. ‘The question that some might ask is about competition between the digital museum and the analogue museum. I am confident that the digital museum can never replace the analogue museum. It was interesting to see the different digital offerings of various museums. But it is clear that all this can only serve to complement the truly unique experience and ambience of an actual visit to a museum.’
The KHM Vienna reopens on 30th of May.
‘We are one of those museums that closed very quickly, but you have to know that closing a museum is easier than reopening it again,’ Dr Haag told me. ‘I believe that, especially in times of crisis, art and culture can be very reliable companions that can give a little orientation. Thus, we are very motivated to reopen. We are, of course, aware – and this probably applies to all cultural institutions worldwide – of the relevance of these institutions to society, to the functioning of a society, the solidarity of a society… Only open cultural institutions, and I mean really physically open, can fulfil this in the best possible way.’
The Belvedere Museum
The Belvedere in Vienna is one of the leading museums worldwide. The complex with its two palaces, the Upper and Lower Belvedere, which are connected through extensive gardens, is a stunning Baroque architectural ensemble, commissioned by the Austrian General Prince Eugene of Savoy in the 18thcentury. It was later acquired by the Austrian Empress Maria Theresa, who transformed the Upper Belvedere into an exhibition venue for the imperial collections, making it one of the first public museums in the world. Today, the art collection includes works ranging from the Middle Ages to the present day. It hosts the world’s largest collection of Gustav Klimt paintings, among them, his probably most famous painting, ‘The Kiss’,[13] as well as prominent works from the periods of Viennese Biedermeier, Austrian Baroque, Vienna around 1900, and French Impressionism. The Lower Belvedere, formerly the residence of Prince Eugene, is home to illustrious exhibitions, while the modern pavilion of the Belvedere 21 sets the stage for contemporary art, film, music, and events.[14]
‘The closure on 11thof March tore the Belvedere out of a pulsating museum life,’ says Dr Monika Voglgruber, director of ‘Communications & Digital Belvedere’, whom I interviewed just before the Belvedere Museum was about to reopen on 15th of May. ‘Upon closure, our first reaction was: we have to offer our visitors an opportunity to come to the museum anyway!’
From the first day of the closure, the Belvedere offered online guided tours through videos which were posted daily on their social media accounts. The videos featured topics such as the buildings themselves, e.g. the Upper Belvedere where the Austrian State Treaty was signed in 1955, as well as paintings by Egon Schiele, Claude Monet, Gustav Klimt, Tina Blau, Anna Maria Punz, Marie-Louise von Motesiczky, and many others.[15]
‘We wanted to show a mixture of very well-known works and works that otherwise receive less attention. We wanted an approach that is first class but also easy to understand for everyone,’ says Dr Voglgruber. ‘In the beginning, we shot the videos ourselves. In that situation, it was not possible to organise someone external or professional. Thus, someone from the “Digital Belvedere” and Markus Hübl, one of our art mediators, simply “trudged” up there, made a selection of works, and started to record in the Upper Belvedere, in the show collection.
Luckily, our collection is large and diverse, and this gave us the opportunity to present a different work every day. Thanks to good cooperation between the departments and quick decisions, it wasn’t really that difficult. We had a lot of positive feedback.’
Next to the video-tours, the Belvedere offered further diverse content online. This included videos of artist talks, lectures, and discussions,[16] regular posts on social media,[17] and a programme for children.
‘We thought about what we could offer, from video archives to online collections. We have tried to offer content in different formats and from different areas. We were able to reach new target groups, over 700 000 digital visitors. Over 200 000 people watched our videos. It is an additional service that may have gained in importance now, but it will always remain an additional service.’
Dr Voglgruber says that even upon reopening, the team of the Belvedere will continue to offer online content:
‘The daily online tours will continue until all locations have reopened, until the end of June. We are considering continuing them after that, not daily but perhaps 1-2 times a week. We saw the digital offer for our visitors on 3 levels – before, during, and after the museum visit. The digital offer had to replace the museum visit during this time, we had of course never thought of that before.
However, all of us are convinced that the digital visit can serve as an additional offer only for some time. But the actual physical museum visit, the direct experience of the artwork, cannot be replaced digitally… I always have an image in mind, I like to say that nowadays, crystals can be created artificially. However, such an artificial crystal can never replace an original crystal. It is similar to a visit to a museum: the enjoyment of an original work of art is unique.’
The Lower Belvedere is one of the fist museums in Vienna to have reopened again, on 15th of May:
‘One of the reasons for this is the exhibition on display there, “Into the Night. Cabarets and Clubs in Modern Art”. It is an exhibition exploring alternative art scenes from the 1880s to the 1960s (e.g. the Cabaret Fledermaus in Vienna, the Chat Noir in Paris, the Cabaret Voltaire in Zurich, the nightclub Bal Tic Tac in Rome, the Café L’Aubette in Strasbourg, the inter-war nightclubs in Berlin),[18] and it will unfortunately only be there for two more weeks after reopening. We decided to use this time when we can open and show this exhibition to the public, because it started just one month before closing and was de facto idle for the entire time of the closure.’
The Belvedere 21 will reopen on 1st of June; the Upper Belvedere will make its wonderful gallery once again available to the public on 1st of July.
‘Overall, this time was very intense, we had to adapt to new situations and to react very flexibly. As an institution, this can only be achieved if the teams and the various departments work together. I think we succeeded very well. At the moment, we look confidently into the upcoming weeks and months. We are well prepared and very happy that we will open again.’
The Jewish Museum Vienna
The Jewish Museum of Vienna (Jüdisches Museum Wien) was the first Jewish museum in the world, founded in Vienna in 1895.[19] A museum of Jewish history, life, and religion in Austria, the museum is very popular among international and national audiences and present on two locations in Vienna (the Palais Eskeles in the Dorotheergasse and at the Judenplatz).
As of 12th of March, both locations were closed for a then yet undefined period.[20] The closure was challenging for the museum and its director, Dr Danielle Spera, who agreed to give me some insights on recent developments.
‘At first we were shocked and horrified, because our exhibitions had been extremely well attended in the last months before closing,’ says Dr Spera. ‘But then we immediately thought about how we could use the closing time efficiently and started to draw up a plan for urgently needed renovation work. It was work that we could only have carried out anyway if we closed our museums (…) However, our biggest challenge was and remains the loss of entrance fees; we will probably have to cancel some projects, too.’
The Jewish Museum coped with the situation by maintaining an active online and social media presence, with great commitment and exciting contributions. Through their digital channels, the Jewish Museum Vienna made it possible to visit their current exhibitions and permanent collections from home.
‘Jewish history in particular shows us how important it is to keep hope even in difficult situations. There is a saying of a wise Rabbi, that all life is a narrow bridge and the most important thing is not to be afraid.’
The Google Art & Culture website allowed a walk through ‘Our City! Jewish Vienna – Then to Now’. Virtual visitors could learn all about the objects on display in the museum’s permanent exhibition and even get a closer look at the artefacts.[21] Via social media channels, the Jewish Museum offered further unique insights into their current exhibitions:
‘Immediately after we learned that we had to close, I took an online tour of our successful Ephrussi exhibition, with a look behind the scenes. My colleagues have provided blog posts, and there, too, it was always about the “stories behind the stories”, i.e. things that are not so easy to see even when you visit the exhibition,’ Dr Spera told me.
Throughout this time, Dr Spera took audiences on a tour through the exhibition ‘The Ephrussis. Travel in Time’, via Facebook, Twitter, Instagram, and Youtube.[22] Interestingly, the Jewish Museum Vienna could also be found on Spotify,[23] with a playlist compiled by Dr Spera and selections of musical hits from the 1920s and 1930s, as once played at Café Palmenhof, a popular Viennese meeting place operated from 1919.[24]
The ideas came from a very good understanding of the audiences:
‘We try to put ourselves in the position of our visitors as well as possible. What might be of interest to them, what we can offer in terms of additional interesting stories.’
However, while the new approaches could be a great new way of making culture accessible and interesting in the future, Dr Spera says something very important:
‘It will never be able to top a visit to a museum. Discovering an object and the history behind it cannot be replaced by a virtual experience. Museums have a very special status, as repositories of history, knowledge, memory. That is why museums must always remain accessible, and if possible for all people.’
As for the upcoming reopening, Dr Spera says that the Museum is still waiting to see what the ‘distance regulations’ for visitors will look like:
‘If you have to take care of large distances between visitors, then this will certainly be a big challenge, especially for museums with small rooms.’
The Jewish Museum Vienna reopens as of 31st of May 2020. Luckily, it will extend the popular exhibition about the Ephrussi family and the famous ‘Hare with the Amber Eyes,’ with the consent of the national and international lenders, until autumn 2020. Their further exibitions, such as ‘Lady Bluetooth. Hedy Lamarr’ (the exhibition highlighting the Hollywood actress and brilliant inventor Hedy Lamarr) and ‘Let’s Dance. The Viennese Cafetier Otto Pollak’ (an exhibition focusing on Café Palmhof, a lost jewel in Vienna’s city history), will also be on display again.[25]
‘We are looking forward to our guests very much (…) For us, it is important to tell the story of the Austrian Jews in many details, a story most people are not aware of at all. On the one hand, this is about the many achievements in the most diverse fields: science, medicine, culture, literature, philosophy, but also infrastructure, such as the Ringstrasse or the development of the railway, etc. We always try to include contemporary artists in our exhibitions. Or to make people aware of the deepest rupture in history, through the fates of Austrian-Jewish families, whose lives changed dramatically from one day to the next. With our exhibitions, we also try to go beyond Vienna, beyond Austria. Last year, our exhibition was shown in Paris, Amsterdam, and New York. This year, we had planned to show many projects abroad. We hope that this will still be possible and successful.’
The Albertina Museum
The Albertina museum in Vienna’s 1st district numbers among the world’s leading art museums. A former Habsburg palace, the Albertina’s renovated 18th century-staterooms house large-scale exhibitions of modern art, modern graphic works, photographs, and architectural drawings, as well as a permanent presentation of artists of Impressionism and Post-Impressionism ranging from Degas, Cézanne, Toulouse-Lautrec, Chagall, Picasso, Kokoschka, and Egger-Lienz. In March, the museum was also due to open a new second location on Vienna’s Karlsplatz, hosting Austrian art from the post-1945 decades.[26]
‘We would actually have opened our second location, the Albertina Modern, on 12th of March. That was a big challenge, because it was exactly the week in which there were new developments and regulations all of a sudden. We had first decided that instead of the planned big opening event, we were going to have a press conference and an opening in a smaller circle, with artists and politicians. But then, a few days later, we also had to cancel that smaller event and the press conference,’ says Ms Fiona Sara Schmidt, the Albertina’s press officer, in our interview. ‘It was an important day, we had all been preparing and looking forward to it for months. The cancellation was really difficult for us. We sent out several newsletters in which we explained this and asked for understanding of our audiences and artists. Our director also gave interviews and my colleagues and I from the press and public relations department communicated with the media. But we did encounter great understanding from all sides. That was the consolation.
When the Albertina itself was closed, the directors of the Federal Museums had agreed to take a joint step. Thus, it was easier to communicate this because it was a joint action. The closure was announced on 11th of March, when we as staff were still in the office, but from 16th of March we, too, went into home office. A large number of staff were – and remain – on short-time work.’
Many challenges came with the new situation.
‘A big challenge in the beginning was, for example, to reorganise and create new plans for the exhibitions. That is to say, when which exhibitions can be held, what has to be dismantled, what can be extended, whether the exhibitions can take place on the planned dates or whether things will be postponed. So in the background, behind the scenes, there was a lot going on and a lot of planning. Some exhibitions, which had just started before the closure, are now being extended, so that people will have the chance to see them when we reopen in the end of May.’
To make their exhibitions accessible for visitors at home, the Albertina museum maintained an active online presence, via Facebook, Instagram, and Twitter.[27] It was also involved in the Google Art Project, for example, with works of Albrecht Dürer,[28] whose wonderful paintings had been on display in a large exhibition in the museum from September 2019 until January 2020.[29] For each exhibition, a video with background information from the curators or artist interviews was produced.[30] For the Albertina Museum, this online presence, however, was not something completely new.
‘I should say that as far as social media is concerned we have always done a lot. So we just kept on doing it. For us as employees, it was something new to organise it from our home office, with video conferencing and so on. I would say that that was the challenge rather than the content itself. We always come up with something new for virtual visitors,’ says Ms Schmidt.
‘Throughout the entire time, our aim has been to post beautiful, colourful, positive works of art and content, rather than sad ones – because, well, we have had enough sad news and uncertainty anyway. Foremost, I do think that this time has created a new awareness for quality of online content, also from museums. All of us have spent so much time online, and we have seen a lot. It is quite clear that is not all that easy to produce high-quality online content, and I think that virtual visitors are becoming aware of this, too.’
Both the Albertina museum and the Albertina Modern will be reopening on 27th of May.[31]
‘Of course, visitors from Vienna and presumably later also from other parts of Austria will be able to come again when the museum reopens. However, more than half of our visitors come from abroad. For them, we will of course continue to offer content online. We now have to serve both groups, so to speak. But we are well prepared to do so.’
Perhaps, it seems, the challenging situation has stressed the importance of museums’ online presence, making art accessible to audiences from afar. Many online-visitors followed the Albertina’s social media channels, many engaged in creative and active posts and re-enacted works, using the Albertina’s two new hashtags: #MissMyAlbertina and #AlbertinaAnywhere. But of course, an online visit simply cannot compare to an actual visit, as Ms Schmidt stresses:
‘As our director always says, the virtual encounter with the pieces of art can certainly not replace an actual visit. One goes to a museum to experience the museum’s atmosphere. The digital is very important to us, it should make you want to go, it should increase the interest, it should provide background information. But the digital museum tour is simply not the same as an actual visit to the museum! I think people simply love the originals and we want to make them accessible to them. That is also why we are glad to be reopening soon.’
……………………….
The cases examined above have hopefully illustrated some of the unexpected challenges and difficulties faced by four museums in the cultural capital Vienna during the time of Covid-19. I am certain that not only in Vienna, but around the world, museums will have many diverse and personal stories to tell. Throughout history, art and culture have always provided pleasure and hope, despite crises and challenging situations. Being unable to pay a weekend-visit to our beloved museums, which contribute significantly to our lives and which form such an important part of our reality, has been a challenge for us as audiences, too.
Overall, the efforts of museums worldwide have been remarkable during the Covid-19 times; we can only be thankful that we have had access to their exhibitions and collections online. A virtual visit, however, can of course never compare to an actual visit. Hence, it was the most pleasant news that our museums in Vienna will reopen so soon, in the beginning of the summer.
Personally, I cannot wait to explore what I took for granted until now. I am sure that many of you will feel the same.
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I would like to most warmly thank my interviewees for taking time to speak to me during this situation, when many of them faced various challenges. The insights they provided have been invaluable.
* The interviews were conducted between 4thand 14th of May 2020. All websites last accessed on 17th of May 2020.
*Pictures:
(1) Museum Dorotheergasse © Wulz, Jüdisches Museum Wien
(2)Kunsthistorisches Museum Wien © KHM-Museumsverband
(3) Upper Belvedere outside © Lukas Schaller / Belvedere, Wien
(4) Albertina © Harald Eisenberger / Albertina, Wien
(5) Albrecht Dürer, Praying Hands (Betende Hände), 1508 © Albertina, Wien
(6) Gustav Klimt, Kiss, 1908/1909 © Belvedere, Wien
(7) Pieter Bruegel the Elder, The Tower of Babel, 1563, Kunsthistorisches Museum Vienna, Picture Gallery © KHM-Museumsverband
(8) Hedy Lamarr_USA_1939 © Anthony Loder Archive, Jüdisches Museum Wien
[1]Information obtained from the KHM’s website, https://www.khm.at/en/explore/the-museum/the-building/
[2]https://www.khm.at/en/visit/collections/picture-gallery/
[3]https://www.khm.at/en/visit/collections/
[4]https://www.khm.at/en/visit/collections/kunstkammer-wien/
[6]Information obtained from the Weltmuseum’s website, https://www.weltmuseumwien.at/en/exhibitions/aztecs/
[7]Information obtained from the KHM’s website, https://www.khm.at/en/visit/collections/egyptian-and-near-eastern-collection/
[8]https://www.facebook.com/KHMWien, https://www.instagram.com/kunsthistorischesmuseumvienna/
[9]https://www.khm.at/en/learn/kunstvermittlung/app-khm-stories/
[10]https://www.youtube.com/KHMWien
[11]https://open.spotify.com/show/6xMcEVqHsGhzeSR4NWCOmb
[12]http://www.insidebruegel.net/
[13]https://www.belvedere.at/en/kiss-gustav-klimt
[14]Information obtained from the Belvedere’s website, https://www.belvedere.at/en/museum
[15]https://www.belvedere.at/en/digital-guided-tours#DigitalGuidedTours-3630
[16]https://www.belvedere.at/en/digital-guided-tours#ArtistTalks-7629, https://www.belvedere.at/en/digital-guided-tours#LecturesDiscussions-2864
[17]https://www.belvedere.at/en/digital-guided-tours#SocialMedia-9405,https://www.facebook.com/belvederemuseum/, https://twitter.com/belvederemuseum, https://www.instagram.com/belvederemuseum/, https://www.youtube.com/c/belvederemuseum
[18]https://www.belvedere.at/en/night
[19]Information obtained from the website of the Jewish Museum Vienna, http://www.jmw.at/en/about-us
[20]http://www.jmw.at/en/blog/museum-closed
[21]https://artsandculture.google.com/partner/jewish-museum-vienna
[22]https://www.instagram.com/jewishmuseumvienna/, https://www.facebook.com/JuedischesMuseumWien/, https://twitter.com/jewishmuseumVIE, https://www.youtube.com/channel/UCqJXD9Ncasj-IiRfDCLG6hw
[23]https://open.spotify.com/user/j8sre8o0zt2esm7mbgwthvl2j?si=4tUJjoCFTgysA-HeXuDYZA
[24]http://www.jmw.at/en/exhibitions/lets-dance-viennese-cafetier-otto-pollak
[25]http://www.jmw.at/en/blog/museum-opens-may-31
[26]https://www.albertina.at/en/exhibitions/albertina-modern-the-beginning-art-in-austria-1945-to-1980/
[27]https://www.instagram.com/albertinamuseum/, www.twitter.com/albertinamuseum,
[28]https://artsandculture.google.com/partner/albertina-vienna
[29]https://www.albertina.at/en/exhibitions/albrecht-duerer/