!!!Malerei
Painting. As in the fields of architecture and sculpture, the
development of painting in Austria is characterized by a large degree
of individuality and independence from other countries, with four
regions - Vienna/Lower Austria, Salzburg, the Tirol and Carinthia -
becoming most notable for their styles in the course of history.
\\
On Magdalensberg hill in the province of Carinthia some frescoes have
survived that form part of the most outstanding artistic remains of
that time (20-15 B.C.). Some Roman mosaics (e.g. at the excavation
site of Carnuntum, Lower Austria) also date from that early period.
Except for a few works dating from the 19%%sup th/% and 20%%sup th/%
centuries, however, mosaic art was rather neglected in Austria in
later periods.
\\
After the caesura caused by the migration of the Germanic tribes,
Austrian artists gradually began to develop their own ways of artistic
expression and rose to international importance particularly during
the late phases of their respective periods (Danube School, Late
Baroque, Vienna Secession).
\\
The first works of early medieval art were created in the context of
Christianisation. Apart from outstanding examples of manuscript
illumination and the arts and crafts, the oldest murals (8%%sup th/%
century) of the western world outside the Byzantine and Roman sphere
of cultural influence have survived at Naturns in South Tirol%%sup */%
. One of the few artistic relics of the Carolingian and Ottonian
period that survived repeated assaults by the Hungarians and Avars is
St. Benedict´s Church at Mals (in South Tirol%%sup */% ) dating
from the 9%%sup th/% century.
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In comparison with other countries Austria has an enormous number of
Romanesque murals and manuscript illuminations (fragments or whole
cycles of frescoes in more than 50 churches and chapels). During the
Romanesque period murals and manuscript illuminations were two fields
of artistic activity closely connected with each other. The walls of
many Romanesque churches and chapels were covered with cycles of
frescoes depicting the story of Christian salvation. At that time the
town of Salzburg was the main centre of painting and a highly
developed form of manuscript illumination, mainly shaped by Byzantine
influences and brought to Salzburg via Aquileia, gave a decisive
impetus to wall painting. In Salzburg a number of murals have been
preserved, for example those in the convent of Nonnberg (around 1140).
The frescoes at Lambach (Upper Austria, around 1070-1090, the most
outstanding cycle of frescoes in Austria dating from that time),
Puergg (Styria, middle of the 12%%sup th/% century) and Friesach
(Carinthia, first half of the 12%%sup th/% century) were either
painted by Salzburg artists or decisively influenced by the style
prevalent in that town. Many examples of Romanesque murals can be
found in South Tirol%%sup */% (at Burgeis, 12%%sup th/% century; in
the chapel of Hocheppan Castle around 1200). There are also some
excellent examples of Romanesque stained glass in Austria (e.g. at
Weitensfeld, Carinthia, around 1170; at Ardagger, Lower Austria,
around 1240; in the monastery of Heiligenkreuz, Lower Austria, late
13%%sup th/% century).
\\
Created during the second half of the 13%%sup th/% century, at the
transition from Romanesque to Gothic style, the frescoes in the
Cathedral of Gurk are among the major works of the so-called "pointed
style" (the edges of the frescoes follow a sort of zigzag pattern).
\\
With the introduction of the skeleton construction in church
architecture and the resulting loss of surface area wall painting
suffered a decline during the Gothic period. Stained glass, however,
became increasingly popular and gained international renown through
the works of the Vienna Court Workshops in the second half of the
14%%sup th/% century (e.g. stained glass windows in St.
Stephen´s Cathedral donated by the Habsburgs around 1390).
\\
As well as stained glass, panel painting came to the fore in the
course of the 14%%sup th/% century. Among the most impressive works
of art of that time rank the scenes painted on the rear panels of the
Verdun Altar (1330/31) which show traces of western influence.
\\
In the course of the 14%%sup th/% century Austrian painting became
particularly dependent on the then prevalent Bohemian forms of art.
The portrait of Rudolf IV (around 1365, exhibited in the Vienna
Diocesan Museum) constitutes the second oldest well-preserved portrait
of occidental painting.
\\
While 14%%sup th/% century High Gothic painting shows elements of a
more spiritual courtly style which reached its climax around 1400 with
the introduction of an idealizing style particularly prevalent in and
around Vienna ("weicher Stil"), 15%%sup th/% century Late Gothic art
was marked by both bourgeois influences and the struggle of painters
to depict the real world. Artists like those who created the votive
plaque at St. Lambrecht, the Friedrich Altar and the Andreas Altar
were still exponents of the "weicher Stil", which did not suffer a
decline in Austria until the 1530s. Under the influence of Dutch
painting works were created around the middle of the 15%%sup th/%
century that were marked by great attention to naturalistic detail and
realistic attitudes and postures. Biblical events were often painted
against the background of local landscapes and towns (e.g. Vienna and
Krems) serve as a background to the scenes depicted at the Vienna
Schottenaltar, 1469-1475). The towns of Vienna (masters of the
Albrecht Altar and the Schottenaltar), Salzburg (C. Laib, R. Frueauf
the Elder), as well as the province of the Tirol including South
Tirol%%sup */% (master of Uttenheim) constituted the main centres of
artistic activity. Wall painting experienced a revival in the
15%%sup th/% century, particularly in the provinces of the Tirol
(cloisters at Brixen/Bressanone in South Tirol%%sup */% , Runkelstein
Palace in South Tirol%%sup */% ) and Carinthia (Thomas of Villach). At
that time artists began to develop typical regional variations of
style which were particularly influenced by the Dutch school of
painting (Vienna, Lower Austria and Salzburg) and Italian Early
Renaissance (Tirol and Carinthia).
\\
The most outstanding late 15%%sup th/% century painter was M. Pacher,
who managed to create a highly personal style in his mural and panel
paintings by using elements of both the Dutch and Italian schools.
\\
Created by the co-operation of painters, sculptors and architects, the
numerous well-preserved winged altars constitute an outstanding
feature of European painting (e.g. the altar created by Pacher at
St. Wolfgang, Upper Austria, 1471-1481).
\\
Due to the invention of woodcuts and book printing, manuscript
illumination suffered a serious decline in the course of the
15%%sup th/% century. Only very few outstanding illuminations were
created later (e.g. "Rationale des Duranti", 1385-1406), which largely
owed their existence to a handful of persons pursuing antiquarian or
scholarly interests. The genealogical works of Emperor
Maximilian I ("Weisskunig", "Theuerdank" and "Freydal") are worth
mentioning in this respect.
\\
The specific style of the Danube School was developed at the
beginning of the 16%%sup th/% century at the transition from the Late
Gothic period to the era of Renaissance art. The Danube School had a
significant influence on the creation of the first real landscape
paintings in which nature did not only serve as a setting for portrait
and figure compositions (W. Huber). Paintings by Danube School artists
constitute the first form of popular art in Austria, with the
refinement of woodcut prints being decisive for the familiarization of
a greater public with these works.
\\
Only very few works have been preserved from the period of Renaissance
art, among which the most outstanding are murals painted by means of
the sgraffito technique on the walls of burghers´ homes (e.g. at
Retz, Eggenburg, Horn, Weitra and Krems, Lower Austria).
\\
Portraiture (e.g. by J. Seisenegger) constituted an equally important
form of art at that time. During the Late Renaissance and Early
Baroque periods, the work of Austrian painters was probably not so
insignificant as it might appear, but most of the artistic production
was lost on account of the struggles of the Reformation and the Thirty
Years´ War. The handful of paintings which have survived were
mostly created by artists who had come to Austria from abroad
(especially from Italy).
\\
The victory of the Catholic Church in the Counter-Reformation put an
end to the effects of Protestant iconoclasm and the prevention of an
invasion by the Turks towards the end of the 17%%sup th/% century
enabled artistic activity in Austria to flourish again. During the
High and Late Baroque (around 1680-1740, Baroque) Austrian art
reached the peak of its creativity. As the political power of the
emperors increased steadily, Austrian art flourished as it had never
done before. The centres of this artistic flowering, which was marked
by outstanding paintings (especially in the field of wall painting),
were the Emperor´s residence in Vienna, the residences of the
Princes of Graz and Salzburg, as well as the residences of the Prince
Archbishops in Salzburg. The Austrian monasteries and particularly the
Benedictine monks also began to promote artistic activities (e.g. in
the monasteries of Melk and Altenburg). While large numbers of foreign
artists were coming to Austria and especially to Vienna, many
outstanding Austrian artists (e.g. J. M. Rottmayr, M. and B.
Altomonte, D. Gran, P. Troger) who mainly concentrated on mural and
panel painting emerged on the scene. P. continued to flourish until
the end of the 18%%sup th/% century. The leading artists in the field
of painting, which held a position superior to the other forms of
visual art, were F. A. Maulbertsch, M. J. Schmidt,
J. W. Bergl, J. C. Brand, M. v. Meytens (in Vienna and
Lower Austria), J. F. Fromiller (in Carinthia), J. C.
Hackhofer (in Styria) and K. Waldmann (in the Tirol).
\\
Early Historicism, which mainly adhered to classical principles,
became especially important in Vienna, where it initiated the heyday
of the Vienna Academy (marked by the works of F. H. Fueger,
J. B. Lampi the Elder, J. P. Krafft). At the beginning of
the 19%%sup th/% century a movement which called itself Brotherhood
of St. Luke (also referred to as Nazarenes) began to form. This group
was strongly influenced by 16%%sup th/% century German and High
Renaissance Italian painting and thus opposed the use of classical
elements. The works of its members (e.g. J. Scheffer von
Leonhardshoff, J. v. Fuehrich) dealt mainly with religious
subjects.
\\
The most outstanding representatives of Romantic monumental painting
were Fuehrich, L. Kupelwieser and M. v. Schwind, who included the
southern regions of Germany in his sphere of activity.
\\
During the Biedermeier period intimate, small-sized panel paintings,
as well as watercolours, genre paintings (by P. Fendi, C. Schindler,
J. Danhauser), portraits (by F. v. Amerling, J. Kriehuber) and
landscape paintings (by F. Gauermann, T. Ender) flourished. The
Biedermeier style was, however, eventually superseded by the works of
the period´s leading Austrian painter, F. G. Waldmueller.
\\
During the second half of the 19%%sup th/% century painters tried to
revive Baroque richness in colour and form in their large-scale panel
paintings and frescoes which were particularly appreciated for their
decorative aspect. The leading artists of this period were H. Makart,
C. Rahl and H. Canon.
\\
New ground was broken by A. Romako and T. v. Hoermann, who
decisively influenced a group of artists (e.g. M. Egner, O.
Wisinger-Florian, T. Blau-Lang) led by E. J. Schindler, which
became known as the Austrian School of "Mood Impressionist" Painting
(Stimmungsimpressionismus). Outstanding painters of 19%%sup th/%
century Late Historicism were A. v. Pettenkofen and F. Defregger,
as well as a family of painters and graphic artists by the name of
Alt.
\\
Due to the artistic activities of the Vienna Secession Austrian
painting gained great international renown around 1900. Vienna became
one of the centres Jugendstil in Europe at a time which was also
marked by the emergence of painters´ associations like the
Vienna Secession, the Hagenbund and the Kuenstlerhaus. Due to the
variety of art journals and the activities of the Wiener Werkstaette,
the art of book illustration also received a fresh impetus.
\\
The most evident characteristic of the Vienna Art Nouveau (Jugendstil)
is the use of flat geometrical forms which was to become one of the
most important principles underlying 20%%sup th/% -century abstract
painting. Next to the most outstanding Art Nouveau painter G. Klimt,
C. Moll and K. Moser also adhered to this new style. Starting out as
members of the Vienna Secession movement, E. Schiele, O. Kokoschka and
the long neglected R. Gerstl became the leading representatives of
Austrian Expressionism. After World War I they were joined by A.
Kolig, A. Faistauer and H. Boeckl. Another painter who influenced
Austrian Expressionism was the Tyrolean artist A. Egger-Lienz.
\\
Between World War I and World War II Austrian painting was marked by
expressionist and new functionalist tendencies, as well as by the
introduction of new international styles such as Cubism, Futurism and
Surrealism, while abstract painting was of little significance in
Austria during the early years of the 20%%sup th/% century. The
best-known Austrian painters of the period were W. Thoeny, B.
Koller-Pinell, F. Zuelow, R. Wacker, J. Floch, F. Lerch, A. Birkle, M.
Oppenheimer, O.Laske, C.Hauser, A. P. Guetersloh, O. R.
Schatz, S. Pauser and J. Dobrowsky, to name but a few.
\\
The predominantly graphic works of A. Kubin became fundamental to the
development of international Surrealism in the 1930s.
\\
During these years some artists (e.g. A. Kolig, A. Faistauer) also
strove to revive wall painting in both churches and secular buildings.
Contributing to this trend, H. Boeckl painted frescoes at the
monastery of Seckau (Styria) after World War II.
\\
The years of the annexation of Austria by the German Reich (1938-1945)
were marked by a form of art which idealized Nazi convictions. Some of
the most outstanding artists (e.g. O. Kokoschka, A. P.
Guetersloh) were condemned as producing "degenerated art" and many
artists were driven into exile.
\\
The years after 1945 were marked by a variety of highly diverse trends
which sometimes developed parallel to each other.
\\
1947 saw the founding of the Vienna Art-Club, in which many important
artists started their career.
\\
The works of the Vienna School of Fantastic Realism (A. P.
Guetersloh, E. Fuchs, R. Hausner, W. Hutter, A. Lehmden, A. Brauer), a
late Austrian form of Surrealism, and the decorative/abstract
paintings of F. Hundertwasser made Austrian art famous throughout the
world in the decades following World War II.
\\
In the middle of the 1950s some artists who were closely connected to
the "Galerie naechst St. Stephan" art gallery managed by Monsignor O.
Mauer became the main representatives of Austrian abstract painting.
The leading painters among them were W. Hollegha, J. Mikl and M.
Prachensky.
\\
Another famous representative of abstract painting was M. Weiler, for
whom abstraction was not an end in itself but a means to transform
real nature.
\\
After World War II "informal painting", which had originated in France
and the United States, also became popular in Austria. The main
representatives of this style, which was marked by striking
colourfulness and expressiveness, were M. Lassnig and O. Oberhuber.
\\
Apart from informal painting, existentialist tendencies came to the
fore which made human existence the main topic. In this respect
mention should be made of the leading contemporary Austrian painter of
world renown, A. Rainer. Since the beginning of the 1950s he has
concerned himself with the overpainting of prints and photographs. By
painting and exhibiting his body his work was akin to the performances
initiated by a group of artists who came to be known under the label
of Wiener Aktionismus (R. Schwarzkogler, G. Brus, H. Nitsch, O.
Muehl). This group combined various forms of art in its works, which
mostly deal with sexuality, pain and death.
\\
As in the case of abstract painting, various styles and techniques
were developed in the fields of representational art, portrait and
landscape painting after World War II.
\\
Expressionist tendencies in the works of O. Kokoschka, H. Boeckl, G.
Eisler, F. Elsner, H. Fronius, F. Stransky and M. Melcher greatly
influenced contemporary Austrian painting.
\\
Founded in 1968 a group of artists called "Wirklichkeiten" (P.
Pongratz, F. Ringel, R. Zeppel-Sperl, K. Kocherscheidt, M. Jungwirth,
W. Herzig) presented a completely new style that was influenced by
paintings of mental patients.
\\
The painters (A. Walla, O. Tschirtner, J. Hauser) belonging to the
artists´ colony of the mental hospital at Gugging (Lower
Austria) set the trend for further generations of Austrian artists.
But it was only in the 1980s that these painters (known as
"Gugginger") received world-wide acclaim.
\\
The works by A. Frohner, who started out as a member of Actionism, as
well as the prints and paintings by the sculptor A. Hrdlička are
excellent examples of "corporeal realism". Another famous artist worth
mentioning is C. L. Attersee, whose works have already gained
international renown.
\\
Contemporary Austrian painting is marked by a variety of individual
styles, while artists´ movements and associations have lost
their influence in Austria. The most outstanding representatives of
the younger generation of Austrian painters are S. Anzinger, E.
Bohatsch, E. Caramelle, G. Damisch, A. Klinkan, A. Mosbacher, G.
Rockenschaub, R. Scheidl, H. Scheibl, H. Schmalix and J. Zechner, to
name but a few. Some of them became known as members of a movement
that called itself "neue Wilde".
\\
In recent years new tendencies have evolved in painting since artists
are more and more trying to combine painting with photography, film,
video and computerized art.
!Literature
R. Feuchtmueller, Kunst in Oesterreich, 2 vols.,
%%sup 2/%1972/73.
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