(Klagenfurt 1894–1966 Vienna)
Seated Woman (Maria Boeckl), 1918/19, pencil, gouache on paper, sheet size 45 x 34.5 cm, framed

Exhibited and with a full-page colour illustration in the catalogue:
Herbert Boeckl, Bank Austria Kunstforum, Vienna 1994, Prestel-Verlag 1994, p. 139/cat. no. 78

Provenance:
Sotheby’s, London, 10 October 2001, lot 55
Private Collection, Vienna

Boeckl and Schiele In 1918, Egon Schiele saw the artist‘s works in an exhibition in Klagenfurt‘s Künstlerhaus, and knew that he had an affinity with the man, who was four years younger. Even without this record, we would be easily able to recognise the significant influence that the Viennese artist had on Boeckl from his early paintings and watercolours
…As early as the Portrait of the Betrothed (plate 3), the form is relaxed to create the feeling of the increasingly tranquil, balanced poise of the subjects. In the watercolours and gouaches of the same period, however, the painter clings onto the dynamic perspectives that had originated from Schiele. Marked contrasts and new orders of magnitude were the catalysts for expansion that was integral to the image. Bolstered by the lines produced by the dry, spread bristle brush, some motifs seem to rise upwards like fireworks. This is an effect visible in works including Die Heiligen Drei Könige [The Magi] (plate 80), Schloß Mossburg in Kärnten [Mossburg Castle in Carinthia] (plate 81) and other pieces from 1919. The expressive dynamism, created as a result of the angle of an extreme bird‘s-eye or worm‘s-eye view, and, by extension, a rapid acceleration of the vanishing line, even affects motifs which are primarily idyllic, such as the engaged couple sitting in the meadow (plates 78, 79).
…Klaus Albrecht Schröder - from the aforementioned literature