Idyllic and bucolic moods appear on Viennese artist’s canvas, just like in the Wiener Blut operetta, in close proximity to private tragedies (here an ancestral tree with stains of blood) and other less joyful life events. A significant moment in Schmidlehner’s paintings, moreover, is the border and the relationship that runs between man and architecture. An example of the latter is the pavilions in Grinzing depicted in the painting, where the Viennese Society meets to listen to music and sip wine.