Koloman Moser (1868-1918)
Koloman Moser (1868-1918)

Plomberg

Details
Koloman Moser (1868-1918)
Plomberg
signed with the initials 'KM' (lower left); with the Nachlass stamp (on the reverse)
oil on canvas
19.5/8 x 19.5/8in. (49.9 x 49.9cm.)
Painted in 1913
Provenance
Julius Hummel, Vienna.
Fischer Fine Art, London.
Barry Friedman Ltd., New York (acquired in May 1982).
Acquired from the above by the present owner on 28 June 1985.
Literature
W. Fenz, Kolo Moser, Internationaler Jugendstil und Wiener Secession, Salzburg 1986, no. 77, p. 129 (illustrated).
Exhibited
New York, Shepherd Gallery, and New York, Barry Friedman Ltd., Jugendstil - Munich and Vienna - Secession, Nov. 1982-Jan. 1983.

Lot Essay

Part of the village of St. Loranz, in Austria, Plomberg is a small area situated in the vicinity of the Lake of Mondsee. Renowned for its beautiful landscape and its tranquility, the region became popular amongst the Austrians when the Emperor Franz Joseph took his summer residence in Bad Eschl. A tramway from Salzburg had been set up by the Emperor bringing about an increase in tourism.

After his departure from the Wiener Werkstätte in 1907, Moser dedicated the last decade of his life almost exclusively to painting. While his early works are tied to to a realist and academic tradition, Moser's later paintings reflect the geometric monumentality of Ferdinand Hodler's art. The two artists had established a close relationship since the early Secession exhibitions.

Almost a paraphrase to Hodler's landscapes, Plomberg depicts Moser's feeling for the monumental. Painted with loose brushstrokes and following Goethe's colour theory, Moser refutes the plasticity of forms surrounded by a contour line. Instead, forms are dissolved into light and colour, reminiscent of an Impressionist landscape.

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