Brighter shapes and more intense colours dominate Faistauer's work in the following years. With a bristling brush and varnish, a stitched drawing is transformed into a painting, giving the impression of a glossy surface in relief. The painter is trying to capture an individual. The woman's gaze, half-open mouth and gracefully interlocking fingers make her seem sunk in thought and reflection. In this picture, the combination of colour and shadow with solid form is perfected. In the dark and light areas and combination of planes, it demonstrates an invented, individual expressiveness.
This painting heralds the artist's mature phase in the 1920s. A tireless exhibition organiser and active member of the Salzburg artist group Wassermann, Faistauer also tried his hand at art theory. His book Neue Malerei in Österreich (New Painting in Austria) is an important document for research into contemporary views on Austrian art of the time. Public commissions were another important field in his work. Well-known examples are Faistauer's frescoes's for the Festival Hall in Salzburg, which were removed in 1938, and his ceiling painting in the village church in Morzg near Salzburg.
Anton Faistauer (Sankt Martin bei Lofer, 14 February 1887 - Clohars-Carnoët, 13 February 1920) was an Austrian painter. He worked mainly in a post-impressionist style.
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