Herbert Boeckl

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Birthplace of Herbert Boeckl, Klagenfurt, Viktringer Ring 11
Memorial plaque on Boeckl's birthplace

Herbert Boeckl (born June 3, 1894 in Klagenfurt , † January 20, 1966 in Vienna ) was an Austrian painter who is considered an autodidact and an important representative of Austrian modernism .

Life

Early years

Herbert Arthur Boeckl was born on June 3, 1894 as the son of the state trade school teacher and mechanical engineer Leopold Böckel and his wife Paula in Klagenfurt . He was the second oldest of four sons. He developed a great interest in painting as a child.

Boeckl received his school education in Klagenfurt, where he also graduated in 1912, and then applied to the Academy of Fine Arts in Vienna . After he was refused admission, he enrolled at the building school of the technical university . However, studying architecture there was never as important to him as painting. Nonetheless, his studies gave him new perspectives and close contact with Adolf Loos , who vehemently opposed the art business, which for him was burdened with outdated traditions.

In December 1913 Boeckl took part in the exhibition of the Austrian Association of Artists in the Pisko art salon in Vienna. According to art critics at the time, the works of the exhibiting artists were strongly stimulated by the works of Gustav Klimt , Maurice Denis , Paul Gauguin , Paul Cézanne and Vincent van Gogh . Boeckl was represented with the pictures Blaue Karre , trees on the Feuerbach and autumn morning on the Glan .

First World War

Even after the outbreak of war in 1914, Boeckl continued to study at the Vienna Technical University and at the same time worked as a painter. His paintings from this period show a stronger influence of symbolism and post-impressionism .

From May 1915 he served in Field Artillery Regiment No. 28, which at the end of the year also included Bruno Grimschitz - a close friend, later curator and director of the Austrian Gallery in the Belvedere in Vienna and Boeckl's sponsor. Under his leadership, the museum acquired a total of ten works by the artist. The expansion of this collection was also a major concern of Grimschitz's successors.

In 1916 Boeckl took part in the Decennium exhibition of the Austrian Association of Artists at CJ Wawra's in the former Pisko Gallery, where he showed the portrait of Bruno Grimschitz that he had made shortly before . During a home leave in the same year, he met his future wife Maria Plahna. In January 1917, Boeckl took part in an exhibition in Klagenfurt, where he exhibited a draft for a hero monument, which is currently considered lost.

In 1918 Boeckl passed his first state examination at the Technical University in Vienna and was able to take part in the 10th picture show of the “Art Association for Carinthia” in Klagenfurt. In the same year, the artist signed an open-ended commission contract on advance payment with the successful publisher, book and graphic dealer Gustav Nebehay. In return for a regular monthly wage, the dealer was given the painter's entire production for sale, with half of the sales proceeds going to the contractual partners. Nebehay also financed Boeckl's study trips that took him to Berlin , Paris and Sicily . The contract was terminated in 1931 due to differences over the sale of a painting.

Career as an artist

After the end of the war, Boeckl gave up studying at the Technical University and moved into a studio in Klagenfurt in 1919. There he kept in close contact with the Nötsch artist group , whose members provided him with nude models. During this time, for example, he created the large reclining female nude, for which he chose his wife as a model, and a large number of nudes in charcoal and watercolor. Boeckl's representations in the 1920s show the influence of the Nötscher circle, which can largely be seen in the weighting on the colors. His relationship to color, however, was of a sensual, almost expressionistic or psychological nature. In addition, these works are evidence of a strong and unconventional artistic personality. The Large Reclining Nude, for example, has nothing in common with the works of other Austrian painters created at the same time. The sudden independence and the new artistic self-confidence of the young and actually untrained artist, who has just returned from the war, are even more evident in the drawings and gouaches of this time.

When, from June to September 1920, an overview of modern Austrian art was presented in the Vienna Museum of Decorative Arts , Herbert Boeckl was able to participate with two paintings. They were shown alongside works by Gustav Klimt , Egon Schiele and Oskar Kokoschka . In the same year, during a summer stay in Töschling am Wörther See, the oil painting Gruppe am Waldrand was created . Here the oil paint almost became the modeling clay for the representations. The strong contours used in his earlier works disappeared. Quarry with red shadows was also built in Töschling , in which the tectonics of the landscape was emphasized and thus complied with Boeckl's architectural understanding - an aspect to which he always attached great importance in the course of his artistic work. Direct role models for Boeckl's efforts to make the application of paint three-dimensional cannot be found. In Boeckl's works of this time, color became independent and almost became a motif in itself.

After changing his place of residence frequently, Boeckl went to Berlin in 1921. There he did not join any artist group, but settled away from the art centers. During his one-year stay in Berlin, he created the works Still Life with Fishes , Still Life with a Dead Pigeon and Berlin Hinterhäuser . The latter, Boeckl's first documented cityscape, shows his strong interest in the nested wall and color surfaces, separated by dark lines and invigoratingly broken up by window openings.

In April 1922 Boeckl traveled back to Carinthia and spent the summer with his family in Klopein. Numerous landscapes were created at the Klopeiner See , which reveal his intense preoccupation with Cézanne. Up until 1924, Boeckl stayed there every summer, on the one hand to process the impressions collected in Berlin, Paris and Sicily and to collect impressions of nature. He was particularly fascinated by the diverse stratification of the landscape, the wooded hills and steep mountains, but above all the clear demarcation of the forms and their degrees of color and brightness.

In 1923 Boeckl began his study trip to Paris, where he studied the old masters in the Louvre and made friends with the sculptor Ossip Zadkine . Parisian self-portraits and fortifications of Paris were created in the French capital . The stay in Paris led less to an examination of the latest trends within French art than to an intensive preoccupation with the classics of modern painting, above all with Cézanne's works.

This was followed by a short stay in Carinthia and a trip with his family to Palermo , where he met the painters Edwin Hunziker and Max Gruber. In Sicily, among other things, the Great Sicilian Landscape , a representation in which Boeckl shows great interest in the Bagheria quarry , and the Small Sicilian Landscape were created . The stay in Italy was more important for Boeckl than those in Paris and Berlin. His painting changed in Sicily: self-confident, sparingly executed drawings were already developing in Palermo, which resulted in a certain simplification and a kind of sublimity in Boeckl's painting. These innovations in his style are already clearly visible in The Great Sicilian Landscape .

Salvation Petri from the Sea of Galilee : Peter bears the facial features of Lenin

In 1924 the first art-historical appraisal of Boeckl was published by Otto Benesch , who presented Boeckl's art as the successor to Goya , Van Gogh, Géricault , Cézanne and Lovis Corinth . In the winter of the same year he worked in the studio of his friend Felix Esterl in Vienna, where he created the pictures Still Life with Stovepipe and Nude with Yellow Box . The latter stood at the beginning of a series of nudes, the main aim of which was to complement the physicality of the human figure with space-defining colors and to increase expression by removing naturalistic forms.

In addition to numerous well-known painters from the Nötscher School, Boeckel took part in the art show of the Association of Austrian Artists in the Vienna Künstlerhaus from April to June 1925. Here he showed the great Sicilian landscape and two still lifes.

In November 1927, as part of its autumn exhibition , the Vienna Secession presented its own Boeckl Hall with 30 oil paintings by the artist, which had been created in the previous two years, but also during his stays in Berlin, Palermo and Paris. Viennese art critics saw Kokoschka's role model in the works and drew comparisons to Lovis Corinth, so that Boeckl was accused by some of a lack of innovation.

Memorial plaque for Herbert Boeckl, Vienna, Argentinierstraße 42

In 1928 Boeckl moved into a studio on Argentinierstrasse in Vienna, in which he worked and partly lived for 36 years until his stroke. His family, however, lived in Maria Saal . In September, on his own initiative, he painted the fresco The Savior of Peter from the Sea of ​​Galilee in the medieval cathedral there . Because of its style, but also because of its alleged resemblance to Petri and Lenin, the picture led to severe criticism, so that Bishop Adam Hefter had the picture imposed.

In the following years Boeckl took part in numerous exhibitions in Vienna and increased his sales. In addition, words of appreciation for his works can often be found in the art reviews of the time. He lived with his family in Perchtoldsdorf from 1930 to 1935 .

In 1931 Boeckl worked on anatomy in the prosecution of the Franz Josef Hospital in Vienna , the completion of which was preceded by an abundance of drawings and paintings that were created directly in the dissecting room. The planned sale of the “main work” in this series of pictures led to a dispute with Nebehay. In addition, the presentation generated a particularly negative response from many viewers and caused negative headlines in the press. When the Albertina director Otto Benesch exhibited the drawings on anatomy in February 1948 , the works again caused horrified media reports. In today's research, the anatomy is considered to be a high point in Boeckl's endeavors to observe nature purely and to depict human existence. Furthermore, as in many of his other works, there is an intensive examination of great role models. This clearly referred to Rembrandt's anatomical lecture by Dr. Deyman referred to.

After the falling out with Nebehay and the consequent loss of regular income, the financial situation of the Boeckls family, now seven, worsened. He now sought cooperation with other art dealers, above all with Otto Nirenstein, whose “Neue Galerie”, founded in 1923, had advanced to become one of the most important private platforms for modern art in Vienna.

The 18th Art Biennale took place in Venice in the summer of 1932 , the Austrian contribution of which was curated by Carl Moll . He showed a cross-section of the current art production in the country and exhibited ten pictures and the sculpture Jumping Horse by Boeckl along with other well-known artists .

In 1934, Boeckl mainly worked on the hymn to Maria , which was to form the central panel of a planned Marian altar for a Carinthian church. In November of the same year, a competition exhibition for the Grand Austrian State Prize , newly founded by the federal government, took place in the Vienna Künstlerhaus , for which artists from Austria could send in pictures and sculptures and which Boeckl won with a hymn to Maria .

Boeckl among his students

Boeckl took part in the Brussels World Exhibition in 1935 . At the same time, the “Exposition international d'art modern” took place, at which Boeckl acted as the so-called “Special Government Commissioner” of Austria. This position was ultimately made possible by one of his most important sponsors, the ministerial official Gottfried Hohenauer, through whose efforts Boeckl rose to become one of the most prominent artists in the Austrian corporate state . Here in Brussels, Boeckl's oeuvre was successfully presented in the international context of modernism for the first time. He showed a total of seven pictures, including The Anatomy , Hymn to Mary , Great Sicilian Landscape and Donna Gravida . Boeckl received the Leopold Order of the Kingdom of Belgium for his role and participation in the show . After the opening ceremony in Brussels, Boeckl traveled to Amsterdam and London , where the picture Tower Bridge was taken.

In 1935 Boeckel was unexpectedly appointed professor at the General Painting School of the Vienna Academy of Fine Arts. The painter Walter Eckert , Carl Unger , Karl Kreutzberg, Grete Yppen and Agathe von Auersperg emerged as his master students .

time of the nationalsocialism

In 1938 Boeckl's friend Bruno Grimschitz was appointed director of the Austrian Gallery in Vienna's Belvedere Palace, which, despite the National Socialists' special understanding of art, was able to expand the museum's collection with a large number of works by the artist.

In the following year, Boeckl resigned as a precautionary director of his master's school at the Vienna Academy in order to evade the Nazis' field of vision with his modes of representation. Instead, he took over the daily evening act course, which was a compulsory course for all academy students. Due to the Nazi cultural policy , it was hardly possible for Boeckl to take part in exhibitions, which resulted in a rather withdrawn life and artistic creation during the following years.

In 1940 Boeckl mainly worked on the large family picture , for which all his children were models. In 1941 Boeckl joined the NSDAP , but made no concessions to the Nazi regime in his artistic work. In the years that followed, he created a series of landscapes that inspired him from his many trips, for example to Styria and Moravia .

First post-war years

Seckau basilica , angel chapel, fresco “Seckauer Apocalypse”, 1952–1960: Altar wall (north wall) - “Lamb with the seven eyes” and “four apocalyptic beings”
Fresco "Seckau Apocalypse": " Man of Sorrows "

Despite bombing raids on Vienna , Boeckl was still working in his Vienna studio in March 1945. His family fled to Carinthia. Even after the occupation by the Red Army , Boeckl stayed in the city. On April 19, he was appointed provisional rector of the Academy of Fine Arts by the general department for the Vienna art academies, state theaters, museums and public education as Alexander Popp's successor. In the first months after the war, Boeckl lived in the academy building and was intensely committed to its reconstruction, both materially and personally. The sculptor Fritz Wotruba and the painter Albert Paris Gütersloh were among his first appointments . In numerous publications Boeckl has now been described as a leading Austrian painter.

The beginning of 1946 brought great success for Boeckl: The Carinthian Art Association in the Klagenfurt Künstlerhaus was re-established with Boeckl as President and the Herbert Boeckl exhibition took place in the Vienna Academy of Fine Arts from April 7th to May 19th . Paintings, drawings, watercolors instead. The hanging followed Boeckl's preferred principle of formal and content analogies. For example, the group on the edge of the forest (1920 ) was hung next to Erzberg I (1942). Boeckl established himself again as a leading Austrian artist and was highly praised in the media, with critical voices also voicing, pointing to far more important artists who had withdrawn abroad. In June, however, Boeckl was dismissed as rector of the academy on the grounds that he had failed to register as a former NSDAP member. Nonetheless, his success at that time is evident in his participation with eleven pictures in the exhibition “Masterpieces from Austria”, which took place from November 1946 to March 1947 at the Kunsthaus Zürich and from October 27, 1947 to March 2, 1948 at the Kunstmuseum Zürich. The exhibition was basically intended to clarify the cultural status of occupied Austria and to give an impetus to the speedy achievement of state independence.

In autumn 1947 Boeckl devoted himself intensively to work on his first monograph, which appeared at the end of the year. His former student and son-in-law Carl Unger worked on the picture reproductions. The text contributions came from the art historian Otto Benesch, the painter Albert Gütersloh, the priest and art historian Otto Mauer and Boeckl's assistant Herbert Tasquill. Boeckl was increasingly critical of the current Viennese art scene, in which Cubism and Surrealism were now increasingly being received.

In 1948 Boeckl worked on a series of abstract half-length portraits of the Viennese Dominican father Diego Goetz, who was known as a committed preacher. Nine oil paintings and several drawings and etchings were created. Boeckl partly worked with a collage technique, which had a style-forming effect for the following years.

Fresco "Seckau Apocalypse": " World Judge "

In 1949, the abbot of the Benedictine monastery in Seckau, Benedikt Reetz , where Boeckl's son Oskar attended the abbey high school, suggested a solution for the outstanding school fees: Boeckl should create a work of art for the abbey. Boeckl, enthusiastic about the idea, went to work on a concept for a wall painting in the Angel's Chapel. He mainly took up themes from the biblical book of Revelation of John , scenes from the Old and New Testaments as well as hagiography in order to process them according to his artistic understanding into the representation of the Apocalypse . There were also mythological references, especially from early Egyptian art.

In 1951 he went on a study trip to Spain to study medieval sacred works of art that were famous for Seckau. In 1952 his work began in the chapel, which occupied him for the following years and was completed in 1960. The fresco cycle is considered to be the most extensive within modern monumental painting.

At the Venice Art Biennale in 1949, Boeckl showed a collection of 32 works from several of his creative periods, whereby the abstract forms in his late work met with skepticism in the art critics of the time. Nonetheless, his constant success as an artist was reflected in the renewed awarding of the Grand Austrian State Prize in 1954. In the following year Boeckl traveled with his wife Maria by ship via Venice to Greece , where he produced the main works of Minoan and classical art and architecture studied in order to incorporate them into the Seckau fresco.

In July 1956 he traveled as the official Austrian representative to the first conference of the Association international des arts plastiques of UNESCO in Paris. There he also visited the Louvre, where he was particularly fascinated by the Pieta of Avignon , the Mona Lisa and Goya's portraits of women. After the conference he traveled on to Lisieux to visit the pilgrimage site of St. Therese , whom he particularly venerated and who depicted her in one of his works.

Gravestone Herbert and Maria Boeckl, Zentralfriedhof, Vienna

Last years of life

In 1957 Boeckl was commissioned to design a tapestry for furnishing the Wiener Stadthalle , which he named Die Welt und der Mensch and on which he worked from the beginning of the year until November. One year after its completion, Austria took part in the world exhibition in Brussels with the work and had it exhibited at the 5th Art Biennale in São Paulo in 1959 .

In 1959 Boeckl traveled to Egypt , where he visited and studied museums, tombs, churches and temples.

In 1962 an abundance of events lined up: Boeckl was appointed rector of the Academy of Fine Arts, and a little later he found out about his diabetes. In June he celebrated his 70th birthday, which had been preceded by some excitement about a possible Boeckl retrospective. Boeckl was commissioned to design the Austrian contribution to the Venice Biennale, which he designed as an overview of his own complete oeuvre. On June 19th he received the Cross of Honor for Art and Science of the Republic of Austria and a few months later the Ring of Honor of the City of Vienna . On the night of October 29th to 30th, Boeckl suffered a stroke and from then on he was bedridden until his death. A Boeckl retrospective was shown in the Museum of the 20th Century from December 18 to February 14 . The exhibition presented 105 oil paintings, two sculptures and two tapestries.

In 1966 Boeckl died of a stroke as the father of nine children. He was buried in an honorary grave at the Vienna Central Cemetery .

The Herbert-Boeckl-Weg was named in his honor in Vienna in 1977 and in 1994 the Austrian Post issued a special stamp on the occasion of Boeckl's 100th birthday.

Artistic achievement

If you consider the turmoil in and after the two world wars and their effects on the art market, Herbert Boeckl's continuous production of art at a high level is impressive. In his oeuvre, several clearly delimited phases can be recognized in which he tried out a wealth of artistic possibilities of modern imagery and subsequently even reached climaxes, such as in expressive or expressive-realistic painting in Europe.

Most of the time, the main focus of Boeckl's work is on his oil painting. It should not be forgotten, however, that watercolors, drawings, gouaches and opaque color painting are inseparable from his oeuvre. In many of these, Boeckl's ideas and his stages of development come to the fore with particular clarity.

There were two major waves of losses in Austrian art in the 20th century: on the one hand with the deaths of Wagner, Klimt, Schiele and Moser in 1918 and on the other hand with the later expulsion and murder of Jewish and regime-critical artists during the Nazi era, in addition to suicide by Carl Moll. As a result of these circumstances, Boeckl was the only established, experienced and officially recognized representative of modernism in Austria. He was identified with her by his admirers and celebrated as Austria's most important painter. This view was not shared by everyone and opponents of this view argued, for example, with the pioneering art of Oskar Kokoschkas, who lived in exile.

Boeckl's intention was to bring the Austrian cultural scene back into the European dialogue, whereby his criticism was often directed against the then young artists who merely, contrary to Boeckl's ideas, were based on international cubist, surrealist and abstract models.

The fact that Boeckl withdrew to the cultural traditions of the Mediterranean region and Christianity soon after the end of the war is to be understood on the one hand as a kind of escape from the art world, which he regards as increasingly threatening, and on the other hand as a demonstration of his ability to modernize with the visual language of the Christian West connect to. With public appearances and lectures, he constantly tried to maintain contact and a dialogue with the younger generation of artists. The last successes in this endeavor came in 1952 with the monumental Copertino triptych in the opening exhibition of the new Museum of the 20th Century, in 1964 with a retrospective at the Venice Biennale and with a retrospective at the Museum of the 20th Century. These three events illustrated then and now that Boeckl not only took significant steps in development during the beginnings of modernity, but also has significance for contemporary art in the synthesis of Christian and humanistic values ​​- Christian humanism for short.

Obituaries and tributes

reception

Boeckl's first major appearance at the Vienna Secession in 1927 had negative reactions from conservative Viennese art critics, but there was already a large part of the positive response. His painterly power and talent for coloring were praised. For the Boeckl reception in the following years a scheme became recognizable: Those who basically had a problem with modern art condemned his painting, while others who welcomed Austrian modernism recognized Boeckl's work as extremely positive. Despite all this, Boeckl is hardly known outside of Austria. This may be due, among other things, to his short stays abroad in key art centers such as Paris or Berlin. There he made too few lasting connections for the future and did not participate significantly in the local artistic circles or businesses. Furthermore, the contract with Nebehay and the funding from the “public sector” bound him too much to Austria. Indifference to the visual arts of the western European fringes may be a reason for this, in addition to the often artificially maintained isolation from the latest developments and tendencies in European and American art.

Boeckl's oeuvre can be broadly summarized: A strongly expressive style with impasto application of paint is characteristic of his early work. His subsequent creative phase determined an examination of realistic modes of representation, experimenting with the function of colors and placing his main focus on figural and landscape themes. His late work bears witness to an occupation with international abstract painting.

Herbert Boeckl in the Belvedere, Vienna

The Belvedere has cultivated close relationships with the artist and his work almost since the beginning of Boeckl's painting. Today's collection of the museum now includes 22 works by Boeckl in addition to an abundance of permanent loans that were presented for many years from 1955 in a separate hall of the Upper Belvedere. After the artist's death, the Belvedere kept his artistic estate for ten years. In the past few years, comprehensive documentation on Boeckl has also been built up in the Belvederes archive. From October 21, 2009 to January 31, 2010, his work was honored in the Lower Belvedere with the exhibition "Herbert Boeckl. Retrospective", during which a new catalog raisonné was published.

Works (selection)

Oil paintings

  • Reclining Nude (Vienna, Leopold Museum , Inv.No. 2115), 1919, oil on canvas, 111 × 158 cm
  • Quarry with a red shadow (Zug, Kunsthaus Zug , inv.no. KG 84), 1920, oil on canvas, 50.7 × 81 cm
  • Group at the Edge of the Forest (Vienna, Leopold Museum, Inv. No. 632), 1920, oil on canvas
  • Still life with 2 red apples (Vienna, Leopold Museum, inv. No. 656), 1921, oil on canvas
  • Portrait of Josef von Wertheimstein (Vienna, Leopold Museum, Inv. No. 657), 1921, oil on panel
  • Berliner Fabrik (Vienna, Leopold Museum, Inv. No. 518), 1921, oil on canvas
  • Berlin Hinterhäuser (Vienna, Belvedere , Inv. No. 2356), 1922, oil on canvas
  • Still life with a bottle and fish (Vienna, Belvedere, inv. No. 2514), 1922, oil on canvas
  • Still life with a dead pigeon (Vienna, Leopold Museum, Inv. No. 523), 1922, oil on canvas
  • Landstrasse (Vienna, Leopold Museum, Inv. No. 517), 1922, oil on canvas
  • Eberndorf Monastery in Carinthia (Vienna, Belvedere, inv. No. 2357), 1922, oil on canvas
  • Bathers at Lake Klopein (Vienna, Leopold Museum, inv. No. 521), 1922, oil on canvas
  • Summer evening at the Klopeiner See (Vienna, Belvedere, Inv. No. 2444), 1922, oil on canvas
  • Large Sicilian Landscape (Vienna, Leopold Museum, Inv. No. 529), 1924, oil on canvas
  • Still life with oranges and a jug - Palermo (Vienna, Leopold Museum, inv. No. 522), 1924, oil on canvas
  • Family I (Vienna, Leopold Museum, inv. No.349), 1925, oil on canvas
  • Still life with a bowl and blue fruits (Zug, Kunsthaus Zug, inv.no.85), 1926, oil on canvas, 32 × 51.5 cm
  • Garden landscape - poor house through trees (Art Collection of the Province of Carinthia), 1927, oil on canvas, 57 × 70 cm
  • Self-portrait with a large nude (St. Pölten, Niederösterreichisches Landesmuseum , Inv. No. 7900), 1934, oil on canvas
  • Triptych (Parish Church Salvator am Wienerfeld ), 1934–1945
  • Landscape near Nappersdorf II (St. Pölten, Niederösterreichisches Landesmuseum, Inv. No. 7344), 1951, oil on canvas
  • St. Therese (Vienna, Belvedere, inv.no.4813), 1952, oil on canvas, 92 × 73.5 cm

Frescoes

  • Maria Saal , “Salvation of Peter from the Sea of ​​Galilee” 1925
  • Seckau fresco angel chapel , 1952–1960

plastic

  • Klagenfurt , Arnulfplatz, bronze sculpture “Atlantis” 1940–1944

Awards

literature

  • Herbert Boeckl [exhibition catalog]. Vienna: Museum of the 20th Century, 1964.
  • Gerbert Frodl : Herbert Boeckl. With a catalog raisonné of the paintings. Salzburg 1976.
  • Agnes Husslein-Arco : Herbert Boeckl. The Angel Chapel in Seckau , Univ. Diss., Vienna 1979.
  • Herbert Boeckl 1894–1966: paintings . New Gallery, Graz 1979.
  • Herbert Boeckl: The Apocalypse . Brandstätter, Vienna 1983.
  • Oskar Boeckl / Otto Breicha: Herbert Boeckl. The pictures and drawings for anatomy. Salzburg 1984.
  • Herbert Boeckl: The late work. Pictures after 1945 . ADEVA, Graz 1988.
  • Herbert Boeckl: Bodies and Spaces, 1915–1931 . Ritter, Klagenfurt 1989.
  • Othmar Stary / Wim van der Kallen: The Seckauer Apocalypse by Herbert Boeckl. Graz 1989.
  • Vision & destiny. Herbert Boeckl's Seckauer frescoes. ADEVA, Graz 1990.
  • Felix Czeike (Ed.): Boeckl Herbert. In:  Historisches Lexikon Wien . Volume 1, Kremayr & Scheriau, Vienna 1992, ISBN 3-218-00543-4 , pp. 411-412 ( digitized version ).
  • Herbert Boeckl [catalog for the exhibition in the Kunstforum Wien]. Prestel, Munich 1994.
  • Herbert Boeckl on his 100th birthday: watercolors 1947–1964. Edition Galerie Meier, Innsbruck 1994.
  • Ilse Krumpöck: pioneer of modernity. Early works by a prominent generation of artists . In: Viribus Unitis. Annual report 2000 of the Army History Museum , Vienna 2001, pp. 61–67.
  • Herbert Boeckl 1894–1966 . Austrian Gallery Belvedere, Vienna 2001.
  • Agnes Husslein-Arco, Kerstin Jesse, Matthias Boeckl: Catalog raisonné of oil paintings, sculptures, frescoes and tapestries. In: Agnes Husslein (Ed.): Herbert Boeckl. Retrospective. Verlag Bibliothek der Provinz , Weitra 2009, ISBN 978-3-900000-21-9 , pp. 335–396.

Web links

Commons : Herbert Boeckl  - Album with pictures, videos and audio files

Individual evidence

  1. ↑ Agnes Husslein-Arco (Ed.): Herbert Boeckl. Retrospective. Vienna 2009, pp. 401–402.
  2. ^ Gerbert Frodl: Herbert Boeckl , Salzburg 1976, pp. 6-7.
  3. ↑ Agnes Husslein-Arco (Ed.): Herbert Boeckl. Retrospective. Vienna 2009, p. 402.
  4. ↑ Agnes Husslein-Arco (Ed.): Herbert Boeckl. Retrospective. 2009, pp. 402-403.
  5. ↑ Agnes Husslein-Arco (Ed.): Herbert Boeckl. Retrospective. 2009, p. 403.
  6. ^ Gerbert Frodl: Herbert Boeckl. Salzburg 1976, p. 13.
  7. ^ Gerbert Frodl: Herbert Boeckl. Salzburg 1976, pp. 10-11.
  8. ^ Gerbert Frodl: Herbert Boeckl. Salzburg 1976, pp. 14-15.
  9. ↑ Agnes Husslein-Arco (Ed.): Herbert Boeckl. Retrospective. Vienna 2009, p. 404.
  10. ^ Gerbert Frodl: Herbert Boeckl. Salzburg 1976, p. 16.
  11. ↑ Agnes Husslein-Arco (Ed.): Herbert Boeckl. Retrospective. 2009, p. 404.
  12. ^ Gerbert Frodl: Herbert Boeckl. Salzburg 1976, p. 17.
  13. ↑ Agnes Husslein-Arco (Ed.): Herbert Boeckl. Retrospective. Vienna 2009, p. 404.
  14. ^ Gerbert Frodl: Herbert Boeckl. Salzburg 1976, p. 17.
  15. ↑ Agnes Husslein-Arco (Ed.): Herbert Boeckl. Retrospective. Vienna 2009, pp. 401–405.
  16. ^ Gerbert Frodl: Herbert Boeckl. Salzburg 1976, p. 20.
  17. ↑ Otto Benesch: Rembrandt's Legacy. In: Belvedere. Art and culture of the past. Journal for collectors and art lovers , Vol. 5. 28/29, 1924, pp. 148–175.
  18. ↑ Agnes Husslein-Arco (Ed.): Herbert Boeckl. Retrospective. Vienna 2009, p. 405.
  19. ^ Gerbert Frodl: Herbert Boeckl. Salzburg 1976, p. 21.
  20. ↑ Agnes Husslein-Arco (Ed.): Herbert Boeckl. Retrospective. 2009, pp. 405-406.
  21. ↑ Christine Mitterwenger, Gregor Gatscher-Riedl: Perchtoldsdorfer Straßenlexikon. 2004.
  22. ^ Oskar Boeckl, Otto Breicha: Herbert Boeckl. The pictures and drawings for anatomy. Salzburg 1984, pp. 7-14.
  23. ↑ Agnes Husslein-Arco (Ed.): Herbert Boeckl. Retrospective. Vienna 2009, p. 408.
  24. ^ Gerbert Frodl: Herbert Boeckl. Salzburg 1976, p. 25.
  25. ^ Oskar Boeckl, Otto Breicha: Herbert Boeckl. The pictures and drawings for anatomy. Salzburg 1984, p. 12.
  26. ↑ Agnes Husslein-Arco (Ed.): Herbert Boeckl. Retrospective. Vienna 2009, pp. 408-410.
  27. ↑ Agnes Husslein-Arco (Ed.): Herbert Boeckl. Retrospective. Vienna 2009, pp. 411–412.
  28. ↑ Agnes Husslein-Arco (ed.), Herbert Boeckl. Retrospective , Vienna 2009, pp. 413–415.
  29. ↑ Othmar Stary, Wim van der Kallen: The Seckauer Apocalypse by Herbert Boeckl. Graz 1989, p. 5.
  30. ↑ Agnes Husslein-Arco (Ed.): Herbert Boeckl. Retrospective. Vienna 2009, pp. 415-416.
  31. ↑ Othmar Stary, Wim van der Kallen: The Seckauer Apocalypse by Herbert Boeckl . Graz 1989, p. 5.
  32. ↑ Agnes Husslein-Arco (Ed.): Herbert Boeckl. Retrospective. Vienna 2009, pp. 418–419.
  33. ↑ Agnes Husslein-Arco (Ed.): Herbert Boeckl. Retrospective. Vienna 2009, pp. 419-425.
  34. ↑ http://austria-forum.org/af/Wissenssammlungen/Biographien/Boeckl,_Herbert
  35. ↑ Agnes Husslein-Arco (Ed.): Herbert Boeckl. Retrospective, Vienna 2009, pp. 7–8.
  36. ^ Gerbert Frodl: Herbert Boeckl. Salzburg 1976, p. 18
  37. ↑ Agnes Husslein-Arco (Ed.): Herbert Boeckl. Retrospective. Vienna 2009, pp. 9-10.
  38. ↑ Adi Holzer, Siegfried Karrer: Imaginary diary: Between heaven and earth. Publishing house galleries Weihergut, Salzburg 1996, p. 38.
  39. ↑ Agnes Husslein-Arco (ed.), Herbert Boeckl. Retrospective, Vienna 2009, pp. 8–9
  40. ↑ Gerbert Frodl, Herbert Boeckl, Vienna 1976, pp. 5-6.
  41. ↑ http://www.aeiou.at/aeiou.encyclop.b/b600635.htm
  42. ↑ Review of the Herbert Boeckl retrospective at the Belvedere, Vienna. Retrieved February 5, 2014.
  43. ↑ Agnes Husslein-Arco (Ed.): Herbert Boeckl. Retrospective , Vienna 2009.
personal data
SURNAME Boeckl, Herbert
BRIEF DESCRIPTION Austrian painter
DATE OF BIRTH June 3, 1894
PLACE OF BIRTH Klagenfurt
DATE OF DEATH 20th January 1966
Place of death Vienna