Max Weiler, Sommerberg (Mount Summer), 1932, pencil, watercolor, 500 x 353 mm, Weiler396, Private collection

Max Weiler, Landscape 1982, ink, 390 x 610 mm, Weiler216, Private collection, © Yvonne Weiler.

Max Weiler, Landscape, 1982, ink, 390 x 610 mm, Weiler216, Private collection.

Max Weiler, the Accomplished Draughting Practice of a Great Painter

Max Weiler, Transformations, 1957, ink, 863 x 612 mm, Weiler100, Private Collection, © Yvonne Weiler.

Max Weiler, Untitled, 1999, wax crayon, 295 x 208 mm, Weiler460 Private collection, © Yvonne Weiler.

Max Weiler, Nature, 1956, ink, 880 x 602 mm, Weiler3, Private collection, © Yvonne Weiler.

 

Pinakothek der Moderne
Staatliche Graphische Sammlung
Barer Strasse 40
+ 089 23805360
München
Max Weiler – The Graphic Artist
September 13, November 18, 2012

Max Weiler (1910-2001) is one of the most important and prolific European graphic artists of his generation. In this exhibition, Max Weiler, who is firmly anchored in the public’s mind as a great painter, is shown for the first time to be an equally important graphic artist — an artist who, beginning around 1930, opened up an additional field of autonomous, creative self-exploration with his works on paper, and who — unerringly and obsessively — worked on an œuvre of outstanding importance right up to his death.

Despite international exhibitions, Weiler’s work has not received the attention of a larger public outside Austria that it deserves.

This exhibition shows a representative selection of some 80 works on paper that were on display in the Albertina in Vienna in the summer of 2011 as part of a much larger retrospective. The aim of the Munich exhibition is to capture the essence of Weiler, the graphic artist, and to trace the different phases of his development from the early Thirties to his late work.

To a great extent Max Weiler was an analytical and experimental artist who reflected the media he used. His graphic development took place in clearly distinguishable phases and leaps, in close analogy to his painting. His struggle to find his own form of expression within the context of international Modernism is articulated in the most varied of techniques he used until the early 1960s and in his small, homogenous groups of works. It was not until 1961, after finding a very personal path to follow in his own painting process — namely his trial sheets — that an uninhibited and meandering flow of drawings emerged: virtuoso works in ink from the 1960s, ranging from the abstract to the expressive, and the mature pencil and ink sheets of the 1970s that unfurled in unrestricted variations, climaxing in his monumental drawings.

A representative catalogue to accompany the exhibition has been published by Hatje Cantz. In addition to a comprehensive documentation of the exhibition, it also includes a number of illustrations of other works as well as comparative illustrations. Texts by Gottfried Boehm, Regina Doppelbauer, Edelbert Köb and Michael Semff interpret the genesis and highlights of an œuvre in a century of Modernist art (ca. 408 pages, 440 colour illustrations).

Max Weiler, Tree and Moon in the Afternoon, 1932, Bleistift, Aquarell, 501 x 353 mm, Weiler349, Private collection, © Yvonne Weiler.

Max Weiler, Untiteld, 1998, wax crayon, 417 x 295 mm, Weiler462 Private collection, © Yvonne Weiler.

Max Weiler, Tree in Winter, 1934, pencil, 506 x 336 mm, Albertina, Wien, Inv.-Nr. 37919, © Albertina; © Yvonne Weiler.

Max Weiler, The Raincloud, 1979, Max Weiler-Private Foundation, © Yvonne Weiler.

Max Weiler, Untiteld, 1976, ink, 600 x 800 mm, Weiler79, Private collection, © Yvonne Weiler.