PAUL KIRNIG (Bielitz 1891 - 1955 Vienna), Crystalline Shapes

PAUL KIRNIG*
(Bielitz 1891 - 1955 Vienna)
Crystalline Shapes
charcoal/paper, 12,5 x 12 cm
Provenance: private collection Vienna

ESTIMATE °€ 500 - 1.000
START € 500

Austrian artist of the 20th century. Representative of the Viennese avant-garde, non-objective painting and kinetism. Studied from 1925 to 1930 at the School of Applied Arts with Franz Cizek, Berthold Löffler, Erich Mallina and Victor Schufinsky. Worked in the studio of graphic designer Josef Binder from 1931. 1947 to 1949 studied architecture with Clemens Holzmeister and Erich Boltenstern. Designed covers for magazines and posters. Involvement with Expressionism, Cubism and Futurism. Counts among the Viennese Kinetists as do 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 1925 to 1930 Peter Tölzer studied at the Vienna School of Applied Arts under Schufinsky, Mallina, Cižek and Löffler. From 1931 he worked in the studio of Josef Binder. Tölzer was drafted during the Second World War and became a prisoner of war. After the war, Tölzer studied architecture with Clemens Holzmeister and Erich Boltenstern from 1947 to 1949. During this time, Tölzer mainly earned his living by designing numerous covers of the magazine "Die Frau". From 1949 Tölzer designed election posters for the SPÖ. In cooperation with his wife Maria Tölzer, he designed the apartment building 185 Eisenstadtplatz in Vienna's 10th district and the Ernst-Papanek-Hof in Vienna's 15th district.
In the juxtaposition of Cubist, Futurist and Kinetic works by forces as different as Otto Erich Wagner, Otto Rudolf Schatz and the much younger Peter Tölzer, the most diverse possibilities of abstraction in the broad Cubist repertoire of forms can be read. In addition to figurative drawings of classical tasks of traditional art academies - nude painting and still life - this confrontation of post-cubist modernism also documents the development from the expressive-crystalline to the constructive. Peter Tölzer's nature studies of meadow flowers also familiarise us with the tradition of classical Austrian modernism, which is characterised by a duality between realistic sketching and abstracted execution. Tölzer's sketch sheets are graphic inventories, momentary analyses, on the basis of which the focus and structure of the pictorial construction is developed and only in a further step is abstracted painterly, as Robin Christian Andersen, for example, taught his students at the Vienna Art Academy from 1945 onwards. The artist deconstructs the plant structure of the flowers and extracts from it the formal essence that contains cubist elements as well as sculptural-architectural ones.

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