Albin Egger-Lienz

Albin Egger-Lienz (Jan 29, 1868 – Nov 4, 1926) was an Austrian painter. He had a special preference for rustic genre and historical paintings; under the influence of Ferdinand Hodler, Egger-Lienz abstracted his formal language into monumental expressiveness.

Albin Egger-Lienz was born as an illegitimate child of the Maria Trojer and the church painter Georg Egger. His name was Ingenuin Albuin Trojer. In 1877 he was granted the license to lead the family name Egger. After studying the Volksschule from 1875 to 1882 in Lienz, he studied Mediation of the father and his painter Hugo Engl from 1884 to 1893 Painting at the Academy of Fine Arts Munich with Karl Raupp, Gabriel von Hackl and Wilhelm von Lindenschmit dJ During his studies, he received the Small Silver Medal of the Academy for the image of St Family and the Great Silver Medal of the Academy for Good Friday For 1891 the use of the name Egger-Lienz can be proven for the first time After completing his studies, he lived as a freelance painter alternately in Munich and East Tyrol In 1894 he received the Kleine Golden State Medal for Good Friday

In 1899, Egger-Lienz married Laura Helena Dorothea von Egger-Möllwald (born June 11, 1877 in Vienna, Austria, died October 22, 1967 in Vienna) and settled down in Vienna where he became a member of the Cooperative Artist of Vienna and founding member of the Hagenbundes He was awarded the bronze medal for the painting field saunas in 1902. After the peace ceremony, the painting was purchased by the state. In 1909 he became a member of the Secession in Vienna. He was nominated as a professor by the Academy of Fine Arts at the Vienna Academy of Fine Arts From Franz Ferdinand’s successor to the throne. The reasons for this are the Egger’s affiliation with the Secession rejected by Franz Ferdinand, as well as the fact that Egger had exhibited the painting Der Totentanz Anno Nine within the framework of the exhibition on the 60th anniversary of Franz Joseph’s reign , Which was not patriotic and angesi The advanced age of the jubilee could not be regarded as pious

The next year Egger-Lienz settled in Hall in Tyrol, where he worked with the artists of the Brenner Circle. In 1912 he went to Weimar, where he remained until 1913. After a summer stay at Katwijk aan Zee in Holland, where he painted marine and dune paintings, he settled in St Justina near Bolzano. In Chiusa some of his pupils operated an art school under his direction. In 1914 a monograph on him was published by Carl Weigelt

At the outbreak of the First World War, Egger-Lienz was already an established artist at the end of April 1915 – before the war declaration of Italy to Austria-Hungary – Egger-Lienz reported to the Tyrolean booths, a group which mainly belonged to the year Convocation documents On May 19, 1915, the booths were convened and sworn into the following day in Bolzano. The fortress unit, where Egger-Lienz served, moved to the Tombio fortress. The painter was used for the shooting and camouflage of casemates Friedrich Pfahl from Innsbruck, stated “heart complaints on the way up” and thus enabled Egger-Lienz, who was already 47 years old at the time, to return home after his homecoming: “I was already in the front line with the 14 days of the fire Front on a fortress near Riva, in the middle of the canon, from us The crew, who I also belonged to, did not need to intervene, but everything was ready. Our borders are so fixed that the whales can never come in without having to go back bloody ”

Egger-Lienz was subsequently consigned to Bozen as an artistic adviser to the Kriegsfürsorgeamt. His sketches made in the field and also small oil paintings were made available for reproduction in favor of the Red Cross, the War Office and other aid organizations As a war painter in Folgaria, until May 1916 in Trento He visited high mountain ranges and painted several pictures from the front, which he also made available to the Austro-Hungarian Kriegspressequartier (KPQ) for exhibitions. Likewise he designed war postcards and illustrations for the Tyrolean soldiers newspaper He was allowed to “paint on the front”, but he was not included in the KPQ’s position, and therefore he was not bound as an official war painter to the KPQ’s provisions for surrender. From May 1916, Egger-Lienz was only engaged in the war Free, painted in the studio At this time, the monumental painting The Nameless 1914 Egger-Lienz confessed to the nameless as one of his most powerful creations in later years: “I have never achieved so much pure form-size or form-language in any of my pictures

Egger-Lienz was subsequently consigned to Bozen as an artistic adviser to the Kriegsfürsorgeamt. His sketches made in the field and also small oil paintings were made available for reproduction in favor of the Red Cross, the War Office and other aid organizations As a war painter in Folgaria, until May 1916 in Trento He visited high mountain ranges and painted several pictures from the front, which he also made available to the Austro-Hungarian Kriegspressequartier (KPQ) for exhibitions. Likewise he designed war postcards and illustrations for the Tyrolean soldiers newspaper He was allowed to “paint on the front”, but he was not included in the KPQ’s position, and therefore he was not bound as an official war painter to the KPQ’s provisions for surrender. From May 1916, Egger-Lienz was only engaged in the war Free, painted in the studio At this time, the monumental painting The Nameless 1914 Egger-Lienz confessed to the nameless as one of his strongest creations in later years: “I have never reached so much pure form-size or form-language in any of my pictures as in the ‘family’ And the ‘nameless’; The heads of the former, as well as the bodies of the latter, testify to it ”

After the end of the war he was offered a professorship at the Vienna Academy in 1919, but he did not accept it, as did a new offer from 1925 to 1925. The composition of the Krieger memory chapel designed by Clemens Holzmeister in Lienz also included the painting of the resurrection of Christ After protests against the design of the chapel, among others of the dean, the Holy Office in Rome ordered a prohibition of worship for the chapel

In his last years of life, Egger-Lienz was appointed honorary professor of the University of Innsbruck and the honorary citizen of Lienz Josef Soyka and Giorgio Nicodemi published monographs about him Egger-Lienz died on 4 November 1926 in the Grünwaldhof in St Justina

Egger-Lienz’s oeuvre includes mainly oil paintings, such as drawings and many of his works. Many of his motifs are reproduced in several paintings and versions. He also made lithographs for some motifs, such as the miners

Egger-Lienz’s artistic talents were encouraged by his father and his acquaintance, the painter Hugo Engl. They also enabled him to study painting in Munich at the Academy of Fine Arts. His influential influence was his teacher, the historian Wilhelm Lindenschmit dJ, and The genre painting by Franz von Defregger, as well as Mathias Schmid and Alois Gabl. The image of Ave Maria after the Battle of Bergisel (1894/96) is the work of Defreggers, for example, the portraits of portrait painters in the countryside ( 1891) and The Application II (1898) An important theme during this period is the religious life in the country, visible in the pictures of Good Friday (1892/93), Holy Sepulcher (1900/01) and Christnacht (1903/05)

Egger-Lienz developed his own compositional scheme, in which he broke the mainly static composition of the traditional norm and brought dynamics into the composition. In the Oil Painting The Cross (1901), the accidental image is emphasized, the men almost push the picture , While the anonymous mass is pushed from behind. In Haspinger Anno Nine (1909), this dynamic conception is reinforced by the emphasis on the diagonal line

In the fall of 1899, Egger-Lienz settled down in Vienna. For the painting The Cross, which was still begun in Munich, the Great Golden State Medal was awarded to him at the XXVIII Annual Exhibition of the Cooperative, but the hoped-for money was left out as well as the hoped-for purchase by the public hand

In the Picture After the Peace Closure of 1809 (1902), he led the historical painting to a symbolic generalization. The theme of the dead dance was formally anticipated in the resignation and the design of the figure group. The citizens of Calais of Auguste Rodin, Of which plaster models were exhibited at the Secession in Vienna in 1901 and had impressed him greatly

In 1904, Egger-Lienz turned to the subject of the sower, which was to occupy him up to the 1920s. Here, Jean-François Millet (The Sower, 1851) was the inspiration for Giovanni Segantini And exhibited in the Secession by the Main Works of 1901. The long period of time from the beginning of an influence to the processing in own works is also characteristic of Egger-Lienz

1904/05 was born in South Tyrol The pilgrims, whose formal conception parallels Ferdinand Hodler’s picture The Truth (1903), which together with 30 other works by Hodler was exhibited in the Secession in the spring of 1904, had the first designs for the pilgrims in the middle still A seated Madonna and Child, Egger-Lienz replaced her under the influence of Hodler by the Crucified. With this painting, Egger-Lienz succeeded in breakthrough to the “monumental decorative period”

From 1906 onwards, he dealt with the theme of dead dance. In the summer, a first oil painting was created in Längenfeld. The composition of the figures, as already used in the peace and the pilgrimage, was used alongside Rodin’s citizens of Calais. Constantin Meunier is another model for the formal design Egger -Lienz knew his work already from Munich, and in 1906 the Hagenbund in Vienna showed an exhibition with 148 works by Meunier The Bronzerelief Retour des mineurs (The Return of the Miners, 1895/97) shows clear parallels to the Totentanz In autumn 1907 was the first oil painting Of the dead dance, in February / March 1908 he painted a version in the Viennese studio in casein technique, which gave him the desired monumentality and stylization. The first oil painting he cut it on In the course of the years still further 12 obtained versions and versions

The monumental paintings of King Etzel in Vienna (1910), Haspinger Anno Nine (1908/09), and the first version of Sämann und Teufel (1908/09) also distinguished Egger-Lienz from the contemporaries who also painted in casein By emphasizing the sculptural body forms and the monumentality in contrast to the decorativeness of the Jugendstil

Other influences are Impressionism, which is reflected in the light-flooded works Maisernte (1906), Die Bergmäher (1907) and Die Mittag (1908)

Important for the period around 1910 and thereafter is the “strict reduction of the formation in the figurals.” This is also evident in a saying of Egger, which applies to his later work: “I mold forms, no peasants” With the great themes of being

Central themes are the fate, the tension between being and passing away Some works he painted during and shortly after the First World War are strongly related to German Expressionism, especially the Finale (1918), by Gert Ammann as “the central work in the (1918) and in the Missa eroica (1918) the emphasis is on the closed volume, the cubic shortening and the distortions After the World War the peasants also appear as witnesses and ambassadors of suffering and death, such as in the generations of paintings (1918/19), war women (1918/22), and mothers (1922/23) Silent observer of an ominous world

After his death, the Egger-Lienz reception was heavily influenced by political criteria. In many cases, his work is attributed to a conservative, if not fascist, aesthetic. While Egger-Lienz is seen by Austrian authors as a representative of modernity and a pacifist, International experts rather as precursors of national socialist painting

In his lifetime, this political arrangement is not yet noticeable, writes Leo Trotsky about an exhibition of the secession in 1909: the most outstanding place is taken at the exhibition Albin Egger-Lienz, its name is known as its “Haspinger”, its “Sämänner “Are undoubtedly and to the highest degree perfect wall painting Carlo Carrà, one of the most important theorists of Italian Futurism, described him as one of three outstanding artists of the XIII International Art Exhibition in Venice

Among the national socialists, Egger-Lienz was esteemed especially by Alfred Rosenberg, but this did not lead to any exhibition of Egger-Lienz’s works before the Anschluss of Austria in 1938. The ever-valued appreciation of Adolf Hitler’s for Egger-Lienz is an unstable political myth The image of man and woman given him by the Gaukulturleitung Kärnten on the occasion of the 50th birthday man and woman immediately to the Kärntner Landesgalerie more in 1943, the still existing Egger-Lienz-Museum was opened in the Lienzer Schloss Bruck The cultural policy of the National Socialists was the works of the early and the middle of his Even the war women were exhibited in 1940, as in the 1940/41 gallery in Welz in Vienna – but in a Separee – the picture finale. Other pictures such as The Nameless in 1914 were reinterpreted in the national socialist sense

This official appreciation by the national socialists has left the reception of Egger-Lienz permanently disabled in the Second Republic Between 1945 and 1996, only four individual exhibitions were held. In 1968 Egger’s birthday was ignored even in Tyrol, only in 1976 and again in 1996 were the round deathdays Exhibitions in the Tiroler Landesmuseum Ferdinandeum According to his biographer, Wilfried Kirschl, in the last few years the receptionist Eggers defined a departure from the emphasis of the popular, the typical to the designer of the war experience and the late thought images. Robert Holzbauer sees the classification Egger-Lienz ‘ As a representative of classical modernism

In the art market, the large number of frames and replicas of the individual paintings is considered as a bargaining price. The market is also essentially limited to Austria The highest price achieved for a picture of Egger-Lienz are 760000 euros, which took place on 30 May 2006 at an auction In the Viennese Dorotheum for a version of the Totentanz 1809 of 1921. The highest international price were around 208000 euro for a version of the Bergmäher of 1907, which were achieved 2002 at Sotheby’s in London

His works are mainly found in Tyrolean museums, such as Bruck Castle in Lienz and the Tiroler Landesmuseum Ferdinandeum in Innsbruck, but also in Vienna in the Heeresgeschichtliches Museum, the Belvedere and the Leopold Museum

The Austrian Post published in 1932, in a 6-value series about Austrian painters, also a value with the portrait of Egger-Lienz Later three stamps were issued, which motives of Egger-Lienz on basis (100 years Künstlerhaus, 1961; Christmas, 1969, European Family Congress, 1978)

The 1-Schilling-Coin of the post-war period from aluminum by Michael Powolny showed the figure of the devil from Egger-Lienz ‘painting Sämann and Teufel She triggered discussions for the motive

In 1930, the Egger-Lienz-Gasse was named after the painter in Vienna Meidling The Egger-Lienz-Platz is located in Lienz In 1951, a memorial placard was added to the former dwelling-house of the artist in Veithgasse 3 in Vienna A monument is located in Längenfeld in Tyrol, Where he spent his summer stays in the Gries-Quirein district of Grisons, the Egger-Lienz-Strasse recalls the artist

works:
Sunday morning (private ownership), 1897, oil on canvas, 94.7 × 69.2 cm
The pilgrims (Mannheim, Kunsthalle), 1904-1905
The Totentanz of Anno 09 (Vienna, Belvedere), 1906-1908, oil on canvas, 225 × 233 cm
Bergmäher (Vienna, Leopold Museum), 1907, oil on canvas, 94.3 × 149.7 cm
Makabrer Dance (Lienz, Museum of the City), 1907
Anno Neun (Lienz, Schlossbruck), 1908/09, Casein on canvas, 265 × 456 cm
Man and Woman or The People Couple (Klagenfurt, Landesmuseum Kärnten), 1910
Lunch or The Soup (Vienna, Leopold Museum), 1910, oil on canvas, 91 × 141 cm
Alpine landscape in the Ötztal (Vienna, Leopold Museum), 1911, oil on canvas, 32.5 × 52.5 cm
Schnitter (Lienz, Museum of the City), 1914-1918, oil on canvas
The Nameless 1914 (Vienna, Military History Museum), 1916, Tempera on canvas, 245 × 476 cm
Finale (Vienna, Leopold Museum), 1918, oil on canvas, 140 × 228 cm
Dead soldier from the “Missa eroica” (Vienna, Military History Museum), 1918, Tempera on canvas
Leichenfeld II (Vienna, Military History Museum), 1918, oil on canvas, 70,5 × 119,5 cm,
Ila, the younger daughter of the artist (Linz, Lentos Kunstmuseum, InvNr 155), 1920, oil on wood, 82 × 72 cm
The Schnitter (Vienna, Leopold Museum), around 1922, oil on canvas, 82 × 138 cm
The Source (Vienna, Leopold Museum), 1923, oil on canvas, 85 × 126 cm
The table prayer (Innsbruck, Tiroler Landesmuseum), 1923, oil on canvas, 136 × 188 cm
The Resurrection of Christ (Innsbruck, Tiroler Landesmuseum), 1923-1924, oil on canvas, 197 × 247 cm
The farmer (auction Dorotheum, Vienna, May 2011), 1925-1926, oil study on canvas, 70 × 99 cm
Pilgrimage (private ownership), 1904, Oil Study on canvas, 56.5 × 108 cm