Carry Hauser *
(Vienna 1895–1985)
„Mädchen mit Topfpflanze“ (Girl with plant), 1919/1920, monogrammed CH, artist‘s stamp on the reverse and titled „Fünfzehn Jährige“ („Fifteen-year-old“), oil on wood, 37.5 x 24.5 cm, framed
Listed and illustrated:
Cornelia Cabuk, Carry Hauser. Monografie und Werkverzeichnis, Belvedere Werkverzeichnisse, vol. 2, Vienna 2012, cat. rais. no. 1920 M 6
Provenance:
Private Collection, Vienna
In the early 1910s, the European avant-garde – encompassing the Futurists, Cubists, and Expressionists – was rarely represented in Vienna’s public institutions; it was not until 1913 that commercial galleries such as Miethke and Arnot sought to bridge this gap with major exhibitions. The young painter Carry Hauser, who initially pursued an expressive-psychological style within Oskar Kokoschka’s circle and actively engaged with German Expressionism after the war, was one of the few domestic artists to recognise the Futurist concept of formal fragmentation (Formzerlegung) as a catalyst for his own expressive visual language. He received a further impulse through an exhibition by the post-war collective "Freie Bewegung" (Free Movement), which featured contributions by Czech Cubists.
Václav Špála and Josef Čapek were among those exponents who adapted the Cubist vocabulary to articulate existential crises and metaphysical themes within the framework of Expressionism (Cabuk, p. 39). Bohumil Kubišta’s expressive reinterpretation of Cubism as a spiritual vehicle resonated deeply with Hauser’s own quest for a visual idiom capable of materialising the psychological state of a painter returning from the war. Hauser presented this new cycle of works in 1919 during his exhibition debut at the Haus der jungen Künstlerschaft (House of the Young Artists’ Community).
Specialist: Dr. Marianne Hussl-Hörmann
(Vienna 1895–1985)
„Mädchen mit Topfpflanze“ (Girl with plant), 1919/1920, monogrammed CH, artist‘s stamp on the reverse and titled „Fünfzehn Jährige“ („Fifteen-year-old“), oil on wood, 37.5 x 24.5 cm, framed
Listed and illustrated:
Cornelia Cabuk, Carry Hauser. Monografie und Werkverzeichnis, Belvedere Werkverzeichnisse, vol. 2, Vienna 2012, cat. rais. no. 1920 M 6
Provenance:
Private Collection, Vienna
In the early 1910s, the European avant-garde – encompassing the Futurists, Cubists, and Expressionists – was rarely represented in Vienna’s public institutions; it was not until 1913 that commercial galleries such as Miethke and Arnot sought to bridge this gap with major exhibitions. The young painter Carry Hauser, who initially pursued an expressive-psychological style within Oskar Kokoschka’s circle and actively engaged with German Expressionism after the war, was one of the few domestic artists to recognise the Futurist concept of formal fragmentation (Formzerlegung) as a catalyst for his own expressive visual language. He received a further impulse through an exhibition by the post-war collective "Freie Bewegung" (Free Movement), which featured contributions by Czech Cubists.
Václav Špála and Josef Čapek were among those exponents who adapted the Cubist vocabulary to articulate existential crises and metaphysical themes within the framework of Expressionism (Cabuk, p. 39). Bohumil Kubišta’s expressive reinterpretation of Cubism as a spiritual vehicle resonated deeply with Hauser’s own quest for a visual idiom capable of materialising the psychological state of a painter returning from the war. Hauser presented this new cycle of works in 1919 during his exhibition debut at the Haus der jungen Künstlerschaft (House of the Young Artists’ Community).
Specialist: Dr. Marianne Hussl-Hörmann
