Emilie of Hallavanya

Self-portrait
	Emilie von Halavanya , ca.1915
	Self-portrait
	96 × 78 cm
	Lenbachhaus , Munich Link to the picture; (please note copyrights )

Emilie von Hallavanya (born January 26, 1874 in Pula , Istria , † April 20, 1960 in Munich ) was an Austrian painter .

Life

Emilie von Hallavanya came to Graz around 1888 , where she received her first art lessons at the drawing academy. From 1893 she studied with Ludwig von Herterich at the women's academy in Munich before she returned to Austria in 1894. In the following years she lived alternately in Munich and Graz and went on study trips to Italy and Paris. In 1909 she moved to the Fraueninsel in Chiemsee as a member of an artists' colony , where she lived all her life. Between 1911 and 1920 she taught heads, nudes and still life , landscape and interior at the Munich Women's Academy .

In 1914 she was awarded the Austrian Golden State Medal after two silver medals .

Von Hallavanya died in Munich in 1960.

plant

Wilhelm Leibl is initially seen as Emilie von Hallavanya's artistic role model . Her early works are sometimes assigned to the new objectivity.

During Hallavanya's time as a lecturer at the Ladies' Academy (1905 to 1919), she mainly created pictures of animals and children as well as pictures of women, salons and costumes. A typical subject was the “lady at the desk”. Stylistically, a similarity with the secession member Leo Putz and the Munich artists' association Scholle can be recognized. The works of this time appeared in images in the magazine Kunst für alle and Hallavanya regularly exhibited in the spring exhibitions of the Munich Secession and in the Munich Glass Palace .

The collection of the Lenbachhaus in Munich includes an undated self-portrait , which could have been created around 1915 and which - unlike most of her pictures of that time - shows a "self-confident, modern woman" in light, warm colors and impressionistic brushwork. The composition of the studio picture is reminiscent of Lovis Corinth's self-portrait with a skeleton from 1896.

In the 1930s, Hallavanya adapted her style to the prevailing aesthetics during the Nazi era - initially with “flawless” files in “cool objectivity”, later even more clearly with motifs like German mother. As one of the few artists inside Hallavanya was accepted by the Nazis and placed in the Great German Art Exhibitions at the House of Art from 1937 to 1944 almost every year.

Exhibitions

Presentation of individual works in the following exhibitions:

Spring exhibition of the Munich Secession (several times from 1905)
Grazer Kunstverein (1906, 1910, 1911)
Prague Art Association (1910)
Münchner Kunstverein (between approx. 1905 and 1919)
International exhibition , Glaspalast , Munich
Large German Art Exhibition, Haus der Kunst , Munich (1937, 1938, 1939, 1941, 1942, 1943, 1944)
Wiener Kunsthalle , 1941
Annual exhibition of the Munich artists, Maximilianeum (1943/1944)

Works (selection)

Fox terrier at the dressing table, Styrian State Museum Joanneum Graz
Self-portrait, approx. 1905, Lenbachhaus , Munich, inv. No. G 3971

literature

Hallavanya, Emilie von . In: Ulrich Thieme , Fred. C. Willis (Ed.): General lexicon of visual artists from antiquity to the present . Founded by Ulrich Thieme and Felix Becker . tape 15 : Gresse – Hanselmann . EA Seemann, Leipzig 1922, p. 511 ( Textarchiv - Internet Archive ).
Hallavanya, Emilie (Emilia) . In: General Artist Lexicon . The visual artists of all times and peoples (AKL). Volume 68, de Gruyter, Berlin 2010, ISBN 978-3-598-23035-6 , p. 250.

Web links

Works by Hallavanya on artnet.com

Individual evidence

↑ ^a ^b ^c ^d ^e Hallavanya, Emilie (Emilia) . In: General Artist Lexicon . The visual artists of all times and peoples (AKL). Volume 68, de Gruyter, Berlin 2010, ISBN 978-3-598-23035-6 , p. 250.
↑ ^a ^b ^c ^d ^e Hallavanya, Emilie von . In: Ulrich Thieme , Fred. C. Willis (Ed.): General lexicon of visual artists from antiquity to the present . Founded by Ulrich Thieme and Felix Becker . tape 15 : Gresse – Hanselmann . EA Seemann, Leipzig 1922, p. 511 ( Textarchiv - Internet Archive - information is based on information from the artist).
↑ ^a ^b ^c ^d ^e ^f ^g ^h ⁱ ^j ^k ^l ^m ⁿ Angelika Burger: Emilie von Hallavanya. Confident self-portrait of a modern woman . In: Antonia Voit (Ed.): Off to Munich! Women artists around 1900 . Münchner Stadtmuseum, Munich 2014, ISBN 978-3-86497-193-8 , p. 60-63 .
↑ Emilie of Hallavanya, Self-portrait, circa 1915. Anna Hiller man, self-portrait in the studio, circa 1900 . In: Matthias Mühling, Susanne Böller (Ed.): Beautiful. 19th century views . Städtische Galerie im Lenbachhaus, Munich 2018, ISBN 978-3-88645-191-3 , p. 22-24 .
↑ Emilie of Hallavanya, Self-Portrait, 1900. Accessed November 19, 2019 .

personal data
SURNAME	Hallavanya, Emilie von
BRIEF DESCRIPTION	Austrian painter
DATE OF BIRTH	January 26, 1874
PLACE OF BIRTH	Pula
DATE OF DEATH	April 20, 1960
Place of death	Munich

[:0-1] Hallavanya, Emilie (Emilia) . In: General Artist Lexicon . The visual artists of all times and peoples (AKL). Volume 68, de Gruyter, Berlin 2010, ISBN 978-3-598-23035-6 , p. 250.

[:1-2] Hallavanya, Emilie von . In: Ulrich Thieme , Fred. C. Willis (Ed.): General lexicon of visual artists from antiquity to the present . Founded by Ulrich Thieme and Felix Becker . tape 15 : Gresse – Hanselmann . EA Seemann, Leipzig 1922, p. 511 ( Textarchiv - Internet Archive - information is based on information from the artist).

[:2-3] ↑ ^a ^b ^c ^d ^e ^f ^g ^h ⁱ ^j ^k ^l ^m ⁿ Angelika Burger: Emilie von Hallavanya. Confident self-portrait of a modern woman . In: Antonia Voit (Ed.): Off to Munich! Women artists around 1900 . Münchner Stadtmuseum, Munich 2014, ISBN 978-3-86497-193-8 , p. 60-63 .

[4] Emilie of Hallavanya, Self-portrait, circa 1915. Anna Hiller man, self-portrait in the studio, circa 1900 . In: Matthias Mühling, Susanne Böller (Ed.): Beautiful. 19th century views . Städtische Galerie im Lenbachhaus, Munich 2018, ISBN 978-3-88645-191-3 , p. 22-24 .

[5] Emilie of Hallavanya, Self-Portrait, 1900. Accessed November 19, 2019 .