Josef Maria Auchentaller

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Self-Portrait (1931)

Josef Maria Auchentaller (born August 2, 1865 in Vienna , † December 31, 1949 in Grado in Italy ) was an Austrian painter , draftsman and graphic artist .

biography

Josef Maria Auchentaller, born in Vienna-Penzing into a family from South Tyrol , attended the Technical University in Vienna from 1882 to 1886 and from 1890 to the Academy of Fine Arts there . During this time he was awarded several prizes and awards. In 1897 he went on a trip to Italy, from which he brought home a considerable number of drawings and studies. From 1892 to 1896 he lived in Munich, where he came into contact with the Munich Secession . He worked on the magazine Jugend and soon he also became a protagonist of the Viennese art scene at the time.

He joined the "Association of Austrian Visual Artists" known as the Vienna Secession from the beginning and - from the 5th to the 10th exhibition (1899–1901) - also held a role on the organizing committee, but left it in 1905 together with the artists the Klimt Group. For this association, which was supposed to give the relations between Vienna and contemporary art a completely new direction, Auchentaller designed the poster and the catalog cover of the VIIth exhibition (1900). For the XIV. Secession Exhibition (1902), at which Max Klinger was represented with the Beethoven statue, Auchentaller created the large frieze joy beautiful spark of gods , which stood opposite the Beethoven frieze realized by Gustav Klimt. His rich work in the field of portrait painting, to which he was to remain faithful all his life, was well represented at the Xth Exhibition in 1901 by the full figure of his wife Emma.

Auchentaller was an active contributor to the magazine Ver Sacrum (he was also a member of the editorial committee from 1900 to 1901), for which he created two covers and numerous graphics reproduced inside. He mainly resorted to floral motifs and displayed a linear-stylized style of design influenced by the Japanese woodcut . The 8th issue of the 4th year (1901) was entirely dedicated to Auchentaller, who was presented not only as a graphic artist, but also in his active role in the arts and crafts sector.

Former pension "Fortino" of the Auchentaller family in Grado

In 1903 he moved to Grado with his wife Emma, ​​nee Scheid, and their children Maria and Peter, where he made a decisive contribution to the tourist boom in the Adriatic Sea. According to a design by the architect Julius Mayreder , the "Pension Fortino" was created, which the Auchentaller family ran with an admirable spirit of enterprise and which soon became a popular holiday destination for the Viennese upper class. In 1906 he designed the famous Seebad Grado poster for Grado, printed by A. Berger in Vienna . Austrian coastal country , a successful example of a work of art that reflects the flair and mood of Art Nouveau .

Also of fundamental importance are Auchentaller's relationships with the Scheid family (jewelery makers) and the Thonet brothers (Art Nouveau furniture), for whom he designed numerous works and who exhibited his main work in the music room of their Lehenhof Palace in Scheibbs - in an "international" atmosphere lively cultural exchange. For the Georg Adam Scheid company, which also ran a refinery, the artist designed various pieces of jewelery strongly influenced by Art Nouveau around 1900.

The artist turned to poster art with great interest , whose power to spread ideas, messages and products he was aware of from the start. He designed and realized numerous advertising posters which - in addition to being designed in the "poster style" - were characterized by strong stylization and graphic synthesis: Aureol (1898); Schott and Donnath, Kathreiner's Kneipp Malzkaffee (1899); Continental Pneumatics (1900); International Fisheries Exhibition, GA Scheid (1902).

From 1904 on he stayed in Grado every summer. Already during this time the contacts with the Viennese art ambience and the artist colleagues there weakened, while his friends - the painters Carl Moll , Alfred Roller , Wilhelm List and Maximilian Kurzweil and the architect Otto Wagner - paid him occasional visits. From then on, Auchentaller turned his artistic work - whose style still featured the graphic elements typical of Secessionism - mainly to portraits and landscape painting.

Josef Maria Auchentaller was an early member of the German Association of Artists . His name can be found in the list of members in the exhibition catalog for the 3rd DKB annual exhibition in 1906 in the Grand Ducal Museum in Weimar .

Selected Works

On May 19, 2011, Auchentaller's painting Die Elfe am Bach (1898–99) was ceremoniously given to the Leopold Museum in Vienna in the presence of Ms. Elisabeth Leopold, the widow of the museum's founder Rudolf Leopold , on permanent loan.

Exhibitions

  • Pure Art Nouveau! Josef Maria Auchentaller 1865 - 1949. An artist of the Vienna Secession. Leopold Museum , Vienna, June 11, 2009 - September 21, 2009.
  • Viennese bijoux. Gioielli e design - jewelry and design. Josef Maria Auchentaller per / for Georg Adam Scheid. Grado, June 21st - November 1st, 2015.

literature

Web links

Individual evidence

  1. 3rd German Artists Association Exhibition. Selbstverlag, Weimar 1906, p. 39 ( Membership directory. Ordinary members. Online at archive.org, accessed on March 19, 2017).
  2. ^ Art Nouveau masterpiece for the Leopold Museum. In: leopoldmuseum.org, May 20, 2011, accessed April 19, 2017.
  3. For the 150th birthday of Auchentaller - book presentation in the Leopold Museum. In: leopoldmuseum.org, June 1, 2015, accessed April 19, 2017.
  4. Josef Maria Auchentaller - Viennese Bijoux: Highlights of Art Nouveau jewelry art in a selection published for the first time. For the 150th birthday of Auchentaller - book presentation in the Leopold Museum. In: ots.at, May 29, 2015, accessed on October 25, 2019.