VIENNA SCHOOL - APPENDIX

Eggeler, Louis XV
LOUIS XV
by Stefan Eggeler, a forerunner of the Vienna School
etching, 1922
FOOTNOTES

[1]Muschik, Die Wiener Schule des Phantastischen Realismus, Page 11
[2]Muschik, Die Wiener Schule des Phantastischen Realismus, Page 12 - he quoted from Fuchs memoires
[3]Muschik, Die Wiener Schule des Phantastischen Realismus, Page 12
[4]Muschik, Die Wiener Schule des Phantastischen Realismus, Page 13
[5]Muschik, Die Wiener Schule des Phantastischen Realismus, Page 13
[6]Mrazek, from his catalogue essay for the exhibition Malerei zwischen Traum und Wirklichkeit in the Künstlerhaus, Vienna , 1968
[7]exerpt from the Künstlerhaus catalogue: Von der Natur der Gesichte, english translation OR
[8]Muschik, Die Wiener Schule des Phantastischen Realismus, Pages 50 and 51
[9]from the Künstlerhaus catalogue
[10]Muschik, Die Wiener Schule des Phantastischen Realismus, Appendix: Biographies, Pages 139 to 143
[11]Muschik, Die Wiener Schule des Phantastischen Realismus, Page 9
[12]Muschik, Die Wiener Schule des Phantastischen Realismus, Page 67 and the Japan Exhibition Catalogue
[13]Johann Muschik (1911 - 1979) was a historian and artcritic in Vienna . He was honored with the critic prize at the Biennale in Venice 1954.
[14]quoted from Muschik. One must take into account that Johann Muschik was a member of the KPÖ (Communist Party of Austria) until 1956 (after the Hungarian Revolution). The Stalinists of the time viewed Surrealism suspisciously (decadent bourgeois art). Breton's Surrealists in France did not find an open arms reception with the Communist Party there either, as Macel Jean remarks on several occasions in his book "The History Of Surrealist Painting". Modern art, and Surrealism in particular, was viewed by the Communists with the same contempt as the Nazis decried "entartete Kunst", dictating the style of Socialist Realism as the only acceptable artform. It is therefore understandable that Muschik, having a great fondness for the Vienna School, would very vigourously point to marked differences between these movements.
[15]Muschik, Die Wiener Schule des Phantastischen Realismus, Page 60
[16]Muschik, Die Wiener Schule des Phantastischen Realismus, Page 64
[17]Muschik, Die Wiener Schule des Phantastischen Realismus, Page 63
[18]Muschik, Die Wiener Schule des Phantastischen Realismus, Page 72
[19]Muschik, Die Wiener Schule des Phantastischen Realismus, Page 9
[20]Muschik, Die Wiener Schule des Phantastischen Realismus, Page 64
[21]Muschik, Die Wiener Schule des Phantastischen Realismus, Page 65
[22]Muschik, Die Wiener Schule des Phantastischen Realismus, Page 65
[23]Muschik, Die Wiener Schule des Phantastischen Realismus, Page 66 - quoting the art critic H. Th. Fleming
[24]from the catalogue, Hyogo Modern Art Museum, Kobe, Japan, 1972
[25]exhibition data information from Wieland Schmied, "Brauer"
[26]Zur Wiener Schule des Phantastischen Realismus, afterword by Otsuro Sakazaki in the Japan catalogue, 1972
[27]Muschik, Die Wiener Schule des Phantastischen Realismus, Pages 56,57
[28]Mrazek, from his foreword to the Künstlerhaus catalogue (Vienna, 1968)
[29]adapted from Mrazek, Künstlerhaus catalogue
[30]Mrazek, Künstlerhaus catalogue, direct quote translated from german by OR
[31]Wieland Schmied, Brauer, Page 25

OR Logo

IRU
Ernst Fuchs

ADAM VIS-A-VIS
Rudolf Hausner

JEWELLED EMBRACE
Wolfgang Hutter

SINKING COLLOSSEUM
Anton Lehmden


NEW STAR
Erich Brauer


ZENTRUM WIEN
Kurt Regschek






TRIUMPH CHRISTI
Ernst Fuchs
graphite on canvas, 1962-65
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