Giese
und
Schweiger

Anton Faistauer

1887 St. Martin/Lofer - 1930 Vienna

Anton Faistauer was an extremely versatile artist. He excelled in history painting, landscapes and still-lifes, was a keen lithographer, designed stage sets and tapestries, painted frescoes and wrote books on art. In 1905 he joined Scheffer’s painting school in Vienna but left for the Vienna Academy of Fine Arts in 1906 where he studied under Griepenkerl. He left the Academy in 1909 and founded the independent artist’s association “Neukunstgruppe” together with Schiele, Andersen, Kolig and Wiegele. In 1918 he and Felix Albrecht Harta founded a progressive artist’s association in Salzburg called “Wassermann”. During the 1920’s he worked as a frescoer, adorning the parish church in Morzg in Salzburg in 1922, as well as the entrance hall to the Festspielhaus in Salzburg in 1926. Influenced by the Vienna Secessionist movement and the works of Titian and Tintoretto, his works were soon characterised by dark, heavy colours. He was also strongly influenced and inspired by his study of Cézanne’s works. By the middle of the 1920’s his palette became significantly lighter, dominated by a bluish tint. His style in the 1920’s was characterised by a richly differentiated spectrum of colours, creating subtle and alternating effects of enamel and velvet thereby blurring all contours. By 1922 his shapes had become more rigid, a tendency reflected in his new linear style, but colour remained important. In 1923 Faistauer published his book “Neue Malerei in Österreich” (New Austrian Painting) in which he examined contemporary Austrian art.

Literature

A. Roessler, Der Maler Anton Faistauer. Beiträge zur Lebens- und Schaffensgeschichte eines österreichischen Künstlers, Wien 1947; F. Fuhrmann, Anton Faistauer. 1887 - 1930, including a catalogue raisonné of paintings, Salzburg 1972,with Lit.; H. Giese, Ordnung, Maß und Weltbauform. Anton Faistauer zum Gedenken, in: Parnass, no. 2, Vienna 1994, pp. 40; Kunst des 20.J ahrhunderts. Bestandskatalog der Österreichischen Galerie des 20. Jahrhunderts, Bd. I, Vienna 1993, pp. 209, with further Lit.