SPRING EXHIBITION 2026
What is it, exactly, that brings such great joy in art? The aesthetic experience? The painterly quality? The subject matter? – Surely all of these together, but there is more to it. For instance, the question of why—and why exactly this way. Or—what lies behind it? What lies hidden behind the visible?
A work of art allows for many possible interpretations. Probably as many as there are interpreters. Even in art, absolute truth is an illusion. We have repeatedly observed that interpretations change, that it depends on who is asking, when, and in what frame of mind, and that a work of art has many answers. This has nothing to do with arbitrariness, but rather with the recurring experience that a work of art is only completed in the viewer. One could almost say—paraphrasing Christian Morgenstern—“It is the eye that creates art.” This insight fuels and encourages every serious engagement with art. The texts accompanying the artworks in this catalog are guides, possible interpretations, but not the sole truth. They are intended to help one penetrate a little into the world of images. They are suggestions that can, however, be varied, discarded, or accepted as valid at any time. And they are meant to help win over a receptive audience to the cause of art.
Translated with DeepL.com (free version)
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Andreas LachSmall Bouquet with Grapes, c. 1840Oil on canvas39 x 32 cmsigned on the lower right: "A. Lach" -
Rudolf Junk"Steinbruch Klein Wien bei Krems", 1906Oil on canvas50,5 x 70 cmsigned and dated on the lower right: "R Junk [19]06"; titled and dated on an old label on the reverse: "August 1906", exhibition label Künstlerhaus Vienna "1906 / 741"
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Friedrich von AmerlingMarie Bartak, 1849Oil on canvas63 x 49 cm
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Gelitin (früher Gelatin)Untitled (#1649), 2012Plasticine and wax on a board138 x 160 x 55 cmsigned and dated on the reverse: "#1649 2012"
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Theodor von HörmannSketch for "Dorfbrand" (Village Fire), c. 1887/1888Oil on wood12,5 x 22 cmtitled on the reverse
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Tina BlauView of the Courtyard of the Mondscheinhaus with the Fruhwirtshaus (Technikerstrasse), c. 1890Oil on wood22,8 x 30,5 cmsignature stamp and inscription "No. 34" on the reverse as well as a partially preserved label: "Tina Blau, Alter Hof ... Karls ..."; on the original frame label of the Künstlerhaus Vienna: "1917 / 1553"; as well as a collection label: "Walter Taussig 320 Riverside Drive New York, N.Y. 10025"
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Rudolf von AltMelk Abbey from the West, early 1840swatercolour on paper15,2 x 21,6 cmsigned on the lower right: "R Alt"
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Rudolf von AltCourtyard of the Doge's Palace in Venice, 1864watercolour on paper on cardboard38,9 x 52,7 cmsigned and dated on the lower left: „R. Alt 1864“, below: "94"; on the lower right Lobmeyr collector's stamp; on the reverse: „RL 01125“ in handwriting as well as label: „Sammlung Leopold II 763“
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Otto BarthLonely Trail (near Mitterndorf), before 1913Oil on canvas86 x 86 cmsigned on the lower right: "OTTO BARTH"; titled on the reverse on a label of "Künstlerbund Hagen Wien I": "Bei Mitterndorf"
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Wolfgang Hollegha"Madrid", 1986Oil on canvas250 x 260 cmsigned on the lower right: "Hollegha"
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Tobias Pils"Georges Braque", 2005Oil on canvas160 x 100 cmsigned "T. Pils", dated "2005" and titled "Georges Braque" on the reverse
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Max Weiler„Stehende Form“, 1957Oil and egg tempera on canvas80 x 80 cmInscribed on the back of the stretcher: "Stehende Form 1957"
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Lena GöbelUntitled (from the Series "Finger, sie haben kein Gehirn"), 2023Oil and woodcut on paper on canvas150 x 120 cmsigned and dated on the reverse: "Lena Göbel 2023"
![Rudolf Junk "Steinbruch Klein Wien bei Krems", 1906 Oil on canvas 50,5 x 70 cm signed and dated on the lower right: "R Junk [19]06"; titled and dated on an old label on the reverse: "August 1906", exhibition label Künstlerhaus Vienna "1906 / 741"](https://static-assets.artlogic.net/w_600,c_limit,f_auto,fl_lossy,q_auto/artlogicstorage/gieseundschweiger/images/view/5aec41fb870195b796dcee92a1f21bddj/giese-schweigerkunsthandel-rudolf-junk-steinbruch-klein-wien-bei-krems-1906.jpg)
