(Hall, Tyrol, 1910–2001 Vienna)
“2 Ockerberge”, signed, dated Weiler 74, egg tempera on canvas, 100 x 195 cm, framed, (K)

Full page colour illustration:
Max Weiler, Die innere Figur, published by Galerie Welz, Salzburg 1989, page 303

Exhibited:
Max Weiler, Retrospektive, Museum des 20. Jahrhunderts, Vienna 1989

Provenance:
From an Austrian Collection – directly from the artist

In his diaries we meet Weiler the seeker, on a search that took him far beyond the paintings of his early and middle periods, as someone encouraging himself and warning himself not to slack in his efforts. He never tries to lecture us, never interprets paintings or explains their origin. But he raises the problems which plague a painter and never let him rest – in as far as they can be raised. Weiler says, “my painting, this is all I can talk about, I know something about it, how it deals with the unthinkable, the opaque, the unplanable, the uncalculable and unpronounceable.” This care in dealing with words, a reflection of the thought that goes into his painting, should make anyone daring to talk about Max Weiler’s art do so with care. I, too, do not dare to explain the origin of these paintings, to decode their secret. But I will make the effort to say what takes place in these paintings, what it is about them that affects us, their impact – and try to get a little closer to the unpronounceable with which they deal. As I heard it, Max Weiler once used three terms to describe the various aspects of his comprehensive understanding of nature. These three terms are: the creation, the dream and the object. For creation he also used the word technique, and the dream he equates with idea, as previously noted. In doing so, Weiler is clear that all three terms relate to one another and in the end cannot be separated….
Wieland Schmied, from: Die Dreieinigkeit des Malers Max Weiler.