Wolf Huber was an Austrian painter and architect, a leading member of the Danube School. Records show that Huber was born in Feldkirch and his relationship with other painters of that name living in Feldkirch is unknown, although it is widely believed that he was related to Hans Huber. Hubers birthdate has been estimated at around 1485 on the basis of several works, nothing is known of Hubers training, although he likely worked in a family workshop before setting out as a journeyman painter. He likely visited northern Italy, as much of his shows a thorough grounding in the stylistic techniques of the Italian Renaissance. Drawings of local subjects reveal that he visited the Salzkammergut at least once, after his relocation to Passau, Huber in 1517 became court painter to the Duke of Bavaria, who administered the local diocese until 1540. In 1529 another local nobleman, Count Niklas II von Salm, commissioned him to rebuild Neuberg Palace on the Inn River, not far from the town and these indicate the addition of wings in the style of the Italian Renaissance, complete with rich decorative paintings.
Huber probably designed the reliefs on the tomb of the Counts father, Niklas I von Salm, for his work on the palace Huber was awarded a pension and a manor house, Neufels. When Count Wolfgang von Salm became Passaus bishop in 1542, he confirmed Hubers status as court painter, further recording that he was not subject to the laws of the guild of painters, the artist died in his manor house in Passau in 1553. None of Hubers architectural work has survived, and few of his paintings are extant and those paintings still in existence show a heavy influence from the work of Albrecht Dürer, some show distinct Mannerist tendencies. Hubers surviving drawings suggest a number of multi-figured compositions, now lost, Hubers drawings were copied from an early date, his landscapes in particular bear a deal of resemblance to similar works by Albrecht Altdorfer. He influenced his contemporary, the draughtsman Augustin Hirschvogel, the Collection, Early German painting, 1350-1550
Elmar Peintner is an Austrian contemporary artist. Peintner lives and works in Imst, Tyrol Austria, Peintner was born in 1954 in Zams, near Landeck in Tyrol, the second of seven children of Hubert Peintner, a teacher, and Laura Peintner, née Koeck, a tailoress. From 1954 to 1972, he spent his childhood and youth in Landeck, in 1972, he sat his A-level examinations at Landeck Grammar School. Between 1972-74, he was a student at the Teacher Training Academy in Zams and he studied at the Academy of Fine Arts under Prof. Maximilian Melcher from 1974 -1979. In 1979, he was awarded a diploma and a Master of Fine Arts and he was granted a Foreign Scholarship to study in Luxembourg by the Austrian Federal Ministry of Science and Arts. He was a guest student of Prof. Tetsuya Noda at the Tokyo National University of Fine Arts and Music, Faculty of Fine Arts in Tokyo, in 1982, Elmar Peintner moved to Imst, building himself a studio house. Peintner married Maria Foerg, a teacher in 1985. Peintners works are published in a number of catalogues and books and has awarded many honors.
1995 Gold Medal Winner at the 2nd International Exhibition of Graphic Art in Stockholm, in the forefront, as with all his work, is not the naturalistic reproduction of nature, but the attempt to penetrate to the physical and mental structure of man via realism of microstructures. In the 90s work Peintner restricts himself to placing totally different objects next to or above, the artist does not seek to create a “super – reality” by means of dream and subconscious, but in his pictures he presents poetic enigmas containing questions of reality. They are not scientific herbaceous exhibits, nor are they a catalogue of floral prints, on the contrary, the subject matter emanates a liveliness of substance with all the phases of growth and decay. Inner issues and energy are released, the various processes in the unyieldingness of the substance are noted. Peintners position as a re-creator of this comes out. He declares himself in his consistency and his stamping of the graphic production and he reduces his ideal world to the factual in the motif. K. N.
International Print Exhibition Istanbul, Tophane-i Amire, Istanbul, Türkei 2011 „Mythos Berg“, zusammen mit Herbert Brandl, Andreas Gursky, Hamish Fulton, Walter Niedermayr u. a
Friedrich Loos was an Austrian Biedermeier style painter and lithographer. He was born in Graz on 29 October 1797 and he studied at the Vienna Academy with Joseph Mössmer and went on study tours through the Austrian Alpine regions. From 1835 to 1836 he lived in Vienna, and as of 1846 he sojourned in Rome and he moved to Kiel, where he worked as a drawing teacher at the university as of 1863 and where he died on 9 May 1890. In his pictures he emphasized light and color in order to loosen up his painting, as well as to harmonize and unite the details. Volume 5 Austrian Academy of Sciences, Vienna 1972, p 309 et seq. Friedrich Loos, in, Ulrich Schulte-Wülwer, longing for Arcadia - Schleswig-Holstein artists in Italy, Heath 2009, view from the Old Castle Road to the Village
Josef Maria Auchentaller
Josef Maria Auchentaller was an Austrian painter and printmaker associated with the Vienna Secession and the Art Nouveau style. Josef Auchentaller attended the Technical College in Vienna from 1882–1886 and he attended the Academy of Fine Arts Vienna starting in 1890, and there he excelled and won several awards. In 1885, he fell in love with Emma Scheid, the daughter of a manufacturer of silverware. The couple married in 1891 after her father was convinced of Auchentallers social and financial suitability and they had a daughter, Maria Josepha, and a son, Peter. Beginning in 1895, he contributed art nouveau designs for his father-in-laws company, from 1892–1896, the Auchentallers lived in Munich, where he studied under Paul Hocker, a founder of the 1892 Munich Secession. Auchentaller contributed to Jugend, the German Secession review established in 1896, in 1897, the Vienna Secession was formed by artists who had left the Association of Austrian Artists. The Auchentallers returned from a vacation in Italy to take part, between 1898–1904, Auchentaller showed his work in 10 Secessionist shows.
Auchentaller designed the poster and the covers for the Seventh and Fourteenth exhibitions. He played a role in the Secessions organizing committee from the Fifth to the Tenth Exhibition, in 1905, he left the Secession along with Gustav Klimt due to differences of artistic opinion. Auchentaller was a contributor to the magazine Ver Sacrum, a Secessionist publication, for this magazine, he contributed two title pages and many graphics. His work consisted primarily of floral motifs and linear drawings influenced by Japanese woodcuts which were the popular during that time, the eighth issue of Ver Sacrum was entirely devoted to Auchentaller. His family connections to the Scheids and Thonets continued to him with further work. For Georg Adam Scheids company, G. A. S, silver Jewelry Manufacturers, the artist designed jewelry heavily influenced by the Art Nouveau and Jugendstil movements. A. S. In 1903, he moved with his wife and children to Grado, seeking a better climate, from 1904, the Auchentallers spent every summer in Grado, where they contributed significantly to the growth of tourism in the Adriatic seaside resort town.
He provided ornamentation for a new pensione, the Pension Fortino and his wife, installed a steam laundry and bought an island where fruit and vegetables were grown for the town. In 1906, Auchenteller designed the advertisement poster Seebad Grado, which endures as one of his most famous art nouveau works, although he spent winters in Vienna, Auchentaller became increasingly isolated from the Austrian art world after leaving the Secession in 1905. Increasingly, he began to paint moody landscapes and portraits and his family life became strained, his daughter, Maria Josepha, committed suicide in 1914, and there were rumors that his wife was involved with another man in Grado. In 1914, war was declared and the Auchentellers moved back to Austria, in 1919, the Auchentallers took Italian citizenship and moved to Grado for good
Hannes Heinz Goll was an Austrian sculptor and painter, who worked predominantly in Colombia. Goll was the son of Johanna and Rudolf Goll, a family with three children from Klagenfurt. He was considered an enfant terrible of the Austrian art scene in the 1960s, was co-founder of the Grüne Galerie in his hometown in 1964, and established the art collective of Mieger in 1970. A few years he moved to Colombia, where he met his wife, the psychologist Piedad Tamayo in Sibaté. In his works he was inspired by symbolism and Indigenous arts. In many of his works, especially in his nude madonna works, he combined sacred, other topics of his work include, chained indigenous people, people on the run and politically displaced persons of Colombia. Shortenly before Goll exhibited in his hometown in the end of 1998, physicians diagnosed that he was suffering from leukemia, a few days he died in the hospital of Sibaté near Bogota, the town where he is buried. Sein Leben, sein Werk,2001 ISBN 978-3-85013-877-2 Heinz Goll in the German National Library catalogue Photo Ignacio Ramírez, Hannes Heinz Goll
Rudolf Jettmar was an Austrian painter and printmaker. Media related to Rudolf Jettmar at Wikimedia Commons Entry for Rudolf Jettmar on the Union List of Artist Names
Wenzel Jamnitzer was a Northern Mannerist goldsmith and printmaker in etching, who worked in Nuremberg. He was the best known German goldsmith of his era, a native of Vienna, Jamnitzer was a member of a Moravian German family which, for more than 160 years, had produced works under the names Jamnitzer, Jemniczer and Jamitzer. Wenzel, with his brother Albrecht, was trained by his father Hans the Elder, Wenzels son Hans Jamnitzer and grandson Christof Jamnitzer continued his business. Jamnitzer worked as a goldsmith for all the German emperors of his era, including Charles V, Ferdinand I, Maximilian II. Also, he invented an embossing machine. In 1534, Jamnitzer settled in Nuremberg and he made vases and jewelry boxes with great skill, in a style based on that of the Italian Renaissance. Besides precious metals, he incorporated hardstones, corals, in 1543 he was appointed as a coin and seal die-cutter by the city of Nuremberg. In 1552, he became master of the city mint, Jamnitzer performed scientific studies to improve the technical knowledge of his guild.
In 1568 he published Perspectiva Corporum Regularium, a book remembered for its engravings of polyhedra and this book was based on Platos Timaeus and Euclids Elements, and it contained 120 forms based on the Platonic solids. From 1573, Jamnitzer represented the Goldsmiths on the Nuremberg city council, from 1571 to 1576, he worked with Johan Gregor van der Schardt, a sculptor. Wenzel Jamnitzer died on 19 December 1585 and was buried in St. Johns Cemetery in Nuremberg and his grave is decorated in bronze and has an epitaph by Jost Amman, an artist known for his woodcuts. Examples of his work can be seen in Vienna, the Louvre, and the Victoria and Albert Museum in London, many of his works were probably melted down during the Thirty Years War
Egon Schiele was an Austrian painter. A protégé of Gustav Klimt, Schiele was a figurative painter of the early 20th century. His work is noted for its intensity and its raw sexuality, the twisted body shapes and the expressive line that characterize Schieles paintings and drawings mark the artist as an early exponent of Expressionism. Schiele was born in 1890 in Tulln, Lower Austria, as a child, Schiele was fascinated by trains, and would spend many hours drawing them, to the point where his father felt obliged to destroy his sketchbooks. When he was 11 years old, Schiele moved to the city of Krems to attend secondary school. To those around him, Schiele was regarded as a strange child and reserved, he did poorly at school except in athletics and drawing, and was usually in classes made up of younger pupils. When he was sixteen he took the twelve-year-old Gerti by train to Trieste without permission, when Schiele was 15 years old, his father died from syphilis, and he became a ward of his maternal uncle, Leopold Czihaczek, a railway official.
In 1906 Schiele applied at the Kunstgewerbeschule in Vienna, where Gustav Klimt had once studied, within his first year there, Schiele was sent, at the insistence of several faculty members, to the more traditional Akademie der Bildenden Künste in Vienna in 1906. In 1907, Schiele sought out Gustav Klimt, who generously mentored younger artists, Klimt took a particular interest in the young Schiele, buying his drawings, offering to exchange them for some of his own, arranging models for him and introducing him to potential patrons. He introduced Schiele to the Wiener Werkstätte, the arts and crafts workshop connected with the Secession, in 1908 Schiele had his first exhibition, in Klosterneuburg. Schiele left the Academy in 1909, after completing his third year, Klimt invited Schiele to exhibit some of his work at the 1909 Vienna Kunstschau, where he encountered the work of Edvard Munch, Jan Toorop, and Vincent van Gogh among others. Once free of the constraints of the Academys conventions, Schiele began to not only the human form.
At the time, many found the explicitness of his works disturbing, in 1913, the Galerie Hans Goltz, mounted Schieles first solo show. A solo exhibition of his took place in Paris in 1914. Schieles self-portraits helped re-establish the energy of both genres with their level of emotional and sexual honesty and use of figural distortion in place of conventional ideals of beauty. Egon Schiele’s Kneeling Nude with Raised Hands is considered among the most significant nude art pieces made during the 20th century, Schiele’s radical and developed approach towards the naked human form challenged both scholars and progressives alike. This unconventional piece and style went against strict academia and elevated a sexual uproar with its contorted lines, Schiele mastered the craft of contouring sexually charged beings to express emotional revolutions. In 1911, Schiele met the seventeen-year-old Walburga Neuzil, who lived with him in Vienna, very little is known of her, except that she had previously modelled for Gustav Klimt and might have been one of his mistresses
Johann Adam Bernhard Ritter von Bartsch was an Austrian scholar and artist. His catalogue of Old master prints is the foundation of the Art History of printmaking, Bartsch was born and died in Vienna. He joined the staff of the Royal Court Library in Vienna in 1777, after studying engraving at the Vienna Kupferstecheracademie, and became Head curator of the print collection in 1791. He was an advisor to Duke Albert of Saxe-Teschen, who founded the collection of the Albertina, Vienna, in the twentieth century the two collections were merged in the Albertina. References to Bartsch normally mean this work and it has been reprinted five times, most recently in 1982. In 1821 he published the Kupferstichkunde in German, the Illustrated Bartsch is an English language illustrated version of Le Peintre Graveur. The Illustrated Bartsch General Editor was Walter L. Strauss, the project has been underway since 1978, and is projected to include at least 164 volumes. Most of the volumes are published, the accompanying text volumes.
In fact only Bartschs numbering is retained in full, although his original is often quoted, all the prints known to Bartsch are illustrated in the first 50 volumes. Prints not known to Bartsch, not listed by him or new attributions are listed in the companion and it is often abbreviated to TIB in references. It is available online to colleges and other institutions subscribing to ARTstor- essentially in US & Canada only, in his lifetime, Bartsch executed over 500 plates from his own designs and from those of other masters. Many are attractive but he is not a major artist and his term peintre-graveur or painter-engraver is still in use to distinguish original from reproductive printmakers, especially in the period of the old master print. Dossi, Albertina, The History of the Collection and its Masterpieces, Prestel,1999, ISBN 3-7913-2340-7 ARTstor Illustrated Bartsch page
Oskar Kokoschka was an Austrian artist and playwright best known for his intense expressionistic portraits and landscapes. He was born in Pöchlarn, second child to Gustav Josef Kokoschka, a Czech goldsmith and his older brother died in infancy in 1887, he had a sister, Berta and a brother, Bohuslav. Oskar had a belief in omens, spurred by a story of a fire breaking out in Pöchlarn shortly after his mother gave birth to him. Kokoschkas life was not easy due to a lack of financial help from his father. They constantly moved into flats and farther from the thriving center of the town. Concluding that his father was inadequate, Kokoschka drew closer to his mother, he felt that he was the head of the household, Kokoschka entered secondary school at Realschule, where emphasis was placed on the study of modern subjects such as science and language. Kokoschka was not interested in subjects, as he found he only excelled in art. This education of classic literature is said to have influenced his artwork, one of Kokoschkas professors suggested he pursue a career in fine art.
Against his fathers will, Kokoschka applied to Kunstgewerbeschule in Vienna, Kunstgewerbeschule was an extremely progressive school that focused mainly on architecture, furniture and modern design. Unlike the more prestigious and traditional Academy of Fine Art in Vienna, Kokoschka studied there from 1904 to 1909, and was influenced by his professor Carl Otto Czeschka in developing an original style. Among Kokoschkas early works were drawings of children, which portrayed them as awkward. Kokoschka had no training in painting and so approached the medium without regard to the traditional or correct way to paint. The teachers at Kunstgewerbeschule helped Kokoschka gain opportunities through the Wiener Werkstätte or Viennese Workshops, Kokoschkas first commissions were postcards and drawings for children. Kokoschka said that it gave him the basis of artistic training and his early career was marked by portraits of Viennese celebrities, painted in a nervously animated style. Kokoschka had a passionate, often stormy affair with Alma Mahler and it began in 1912, shortly after the death of her four-year-old daughter Maria Mahler and her affair with Walter Gropius.
After several years together, Alma rejected him, explaining that she was afraid of being too overcome with passion and he continued to love her his entire life, and one of his greatest works, The Bride of the Wind, is a tribute to her. The poet Georg Trakl visited the studio while Kokoschka was painting this masterpiece, Kokoschkas poem Allos Makar was inspired by this relationship. He volunteered for service as a cavalryman in the Austrian army in World War I, at the hospital, the doctors decided that he was mentally unstable