Josef Maria Auchentaller
| Josef Maria Auchentaller | |
|---|---|
| Born |
August 2, 1865 Vienna, Austria |
| Died | December 31, 1949 (aged 84) Grado, Friuli-Venezia Giulia, Italy |
| Nationality | Austrian, later Italian |
| Occupation | Architect |
| Practice | Painter, draftsman, and printmaker |
Josef Maria Auchentaller (2 August 1865 – 31 December 1949) was an Austrian painter, draftsman, and printmaker associated with the Vienna Secession and the Art Nouveau style.
Josef Auchentaller attended the Technical College in Vienna from 1882–1886. He attended the Academy of Fine Arts Vienna starting in 1890, and there he excelled and won several awards. In 1885, he fell in love with Emma Scheid, the daughter of a prosperous manufacturer of silverware and jewelry. The couple married in 1891 after her father was convinced of Auchentaller's social and financial suitability. They had a daughter, Maria Josepha, and a son, Peter.
Beginning in 1895, he contributed art nouveau designs for his father-in-law's company, G.A. Scheid. From 1892–1896, the Auchentallers lived in Munich, where he studied under Paul Hocker, a founder of the 1892 Munich Secession. Auchentaller contributed to Jugend, the German Secession review established in 1896.
In 1897, the Vienna Secession was formed by artists who had left the Association of Austrian Artists. The Auchentallers returned from a vacation in Italy to take part. Between 1898–1904, Auchentaller showed his work in 10 Secessionist shows. Auchentaller designed the poster and the catalog covers for the Seventh (1900) and Fourteenth (1902) exhibitions. He also played a role in the Secession's organizing committee from the Fifth to the Tenth Exhibition (1899–1901). In 1905, he left the Secession along with Gustav Klimt due to differences of artistic opinion.
Auchentaller was a contributor to the magazine Ver Sacrum, a Secessionist publication, and sat on its editorial board between 1900–1901. For this magazine, he contributed two title pages and many graphics. His work consisted primarily of floral motifs and linear drawings influenced by Japanese woodcuts which were the popular during that time (see Japonisme). The eighth issue of Ver Sacrum was entirely devoted to Auchentaller.
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