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Contemporary Art

Object overview
Object

0007

Max Weiler

(Absam bei Hall i. Tirol 1910 - 2001 Wien)

„"Baum"“
1972
egg tempera on canvas
200 × 205 cm
signed and dated on the lower right: Weiler 72
signed, dated and inscribed on the reverse on the canvas: Weiler 1972 / BAUM 1972; inscribed and dated on the stretcher: MAX WEILER "BAUM 1972" FRANKF[urt] 84

Provenance

private collection, Austria

Exhibition

1972, Graz, Steirischer Herbst
1972, Vienna, Akademie der bildenden Künste
1984, Frankfurt a. M., Frankfurter Kunstverein
1984, Innsbruck, Forum für aktuelle Kunst, Galerie Krinzinger
1989, Vienna, Museum des 20. Jahrhunderts
1992, Innsbruck, Tiroler Landesmuseum Ferdinandeum
2004, Krakau, Miedzynarodowe Centrum Kultury

Literature

Österreichische Malerei, exhibition catalogue. Steirischer Herbst, Graz 1972;
Akademie der bildenden Künste, exhibition catalogue, Vienna 1972, p. 49;
Almut Krapf, Max Weiler. Werkverzeichnis der Bilder von 1932 bis 1974, Salzburg 1975, p. 334, no. 722, pl. 51;
Peter Weiermeier (ed.), Max Weiler, exhibition catalogue, Frankfurter Kunstverein, Steinernes Haus am Römerberg, Frankfurt a. M., 21.3. - 22. 4. 1984, ill. p. 19;
Max Weiler 1962-1983, exhibition catalogue, Forum für aktuelle Kunst, Galerie Krinzinger, Innsbruck 1984, cat.-no. 19, ill;
Otto Breicha, Weiler. Die innere Figur, Galerie Welz Salzburg, Vienna 1989, p. 264/265 (ill.);
Gert Ammann (ed.), Weiler. "Innenschau", exhibition catalogue, Tiroler Landesmuseum Ferdinandeum Innsbruck, 6 May - 28 June 1992, ill. p. 146, p. 182;
Wieland Schmied, Max Weiler. Ein anderes Bild der Natur. Der Weg zum Spätwerk, ed. Kunsthistorisches Museum Wien, Salzburg 1998, ill. p. 84;
Gottfried Boehm, Der Maler Max Weiler. Das Geistige in der Natur, 2nd edition, Springer Vienna, New York 2001/2010, ill. p. 301;
Thomas Zaunschirm, Max Weiler. 1910-2001, Wie eine Symphonie, 1990, Hommage à Mozart, Salzburg 2008, ill. p. 72;
Max Weiler (1910-2001)- Malarstwo, Miedzynarodowe Centrum Kultury, Krakow 2004, ill. p. 69

Price on application

„Baum“ (Tree, 1972) is not only one of the largest, but also one of the most impressive pictures in the series "Landschaften auf tönenden Gründen". It shows Weiler's artistic intention at that time in its purest form: Prioritising the shades of colours, their energetic and emotional potential. In its purest form, because in no other work of the series do the pictorial ground and the pictorial motifs merge in the same way into such an intense unity of colour, in this case a glowing red.