€1,500
PETER TÖLZER*
(Vienna 1910 - 1997 Vienna)
Bellflower
pencil/paper, 31 x 22,5 cm
signed Tölzer
Austrian artist of the 20th century. Representative of the Viennese avant-garde and kinetism. Studied at the Vienna School of Applied Arts with Franz Cizek and Bertold Löffler. From 1935 to 1953 assistant and later head of the class for commercial, illustration and fashion graphics. Early works in the style of Kinetism as also Peter Tölzer, Erika Giovanna Klien, My Ullmann, Paul Kirnig, Elisabeth Karlinsky, Georg Anton Adams-Teltscher, Gertraud Brausewetter, Margarete Hamerschlag, Erika Giovanna Klien, Elisabeth Karlinsky, Paul Kirnig, Friedericke Nechansky, Gertrude Neuwirth, Ernst Anton Plischke, Johanna Reismayer, Ludwig Reutterer, Leopold Wolfgang Rochowanski, Emil Stejnar, Hertha Sladky, Harry Täuber, Gertrude Tomaschek, Otto Erich Wagner, Stella Weissenberg. From the 1920s, he turned away from Kinetism and toward representational painting and the New Objectivity.
Since kinetism represents the first art movement of modernism whose most important representatives were female, the male ones form a minority. And since kinetism is less a "movement" than a teaching method, many of the artistic examples from Franz Cižek's theory of forms and his legendary children's and youth art classes are student drawings that have an incredible formal precision in common, but whose authors are mostly completely unknown and have often remained anonymous. Paul Kirnig's crystalline forms are the means of expression of that metaphor of light and crystal which kinetism as a special form of cubism. A first impression of the cubist formal language could be gained understood in 1914 in the first comprehensive Picasso exhibition in the Miethke Gallery in Vienna. The contemporary writer and art mediator Leopold Wolfgang Rochowanski recognised early on that Cižek's Cubism was "different" from Picasso's and arrives at the quintessence: "Cubism, says Professor Cižek, is the crystalline expression of libidinously urgent design energies". Kirnig not only analyses crystalline forms here, but brings them to break under an imaginary pressure, thus creating that chaos which, according to Rochowansky, was also calculated into Cižek's working methods: "The lesson (oh old word!) begins with the invitation to give oneself without restraint, with the unbridled wildness of existing energies. The result: chaos. But the very next lesson calls: reflection. And the next increase is called: order."
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