Veronica Carey

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INSTALLATION_ART_113_REPORT
Marie-Louise von Motesiczky ( October 24 , 1906 – June 10 , 1996 ) was an Austrian-born
British painter .She lived in Britain from 1939 onwards , and became a domesticate subject
in 1948 .== Early life-time == Marie-Louise von Motesiczky was born in Vienna in 1906 to
Edmund von Motesiczky ( 1866–1909 ) and Henriette von Lieben ( 1882–1978 ) .Edmund
was the illegitimate Son of Franz Ritter von Hauer ( 1822–1899 ) , manager of the
Naturhistorisches Museum in capital of Austria , but was given the surname of his mother 's
hubby Matthias Motesiczky and partly brought up by the family of the music director Franz
Schalk .Edmund had considerable musical natural endowment , becoming a gifted ( amateur
) cellist .Her female parent , Henriette von Lieben , came from one of the most flush and
cultured family in the Habsburg Empire .They had donated many of the artworks in the
Kunsthistorisches Museum , and , in their palatial beauty parlour opposite the opera , Hugo
von Hofmannsthal had read his offset poem .Their own art collection at the sept 's country
demesne in Hinterbrü hl was formidable .In order to marry Henriette , who was Judaic , in
1903 , Edmund von Motesiczky renounced Catholicism to enrol the Protestant Church ,
which Henriette did likewise .Their two small fry Karl Motesiczky ( 1904–1943 ) and Marie-
Louise were baptised as Lutherans .The von Liebens were steeped in the social and
intellectual life of Austrian capital as well as having an impact on the early on history of
psychoanalysis .Marie-Louise 's grandmother Anna von Lieben ( née Todesco ) , was one of
Sigmund Sigmund Freud 's patient in the 1890s , referred to under the anonym of ‘ Cä cilie m
’ .Henriette ’ s syndicate divided their metre between cardinal Vienna and the Doroteo
Arango Todesco at Hinterbrü hl in the Wienerwald south-west of Vienna , where Marie-
Louise was to spend the summers of her puerility and early adult living .== Life and work ==
After leaving school at only thirteen , Marie-Louise attended art stratum in Vienna , The
Hague , Frankfurt on the Main , French capital and Israel Baline .In 1927/28 she was invited
by Max Beckmann to fall in his maestro stratum at the Stä delschule in Frankfurt .Beckmann
had been introduced to the Motesiczky family in 1920 and it was through them that he met
the vocalist Mathilde von Kaulbach ( ‘ Quappi ’ , 1904–86 ) , who became his sec wife in
1925 .Beckmann was a lifelong protagonist and wise man to Marie-Louise whose influence
can be seen in her early portraiture and still-lifes , and the allegoric case from the 1940s
onwards .The second great influence on her work after Max Beckmann was Oskar
Kokoschka .Her large band of champion also included the sculptor Marie dura mater , the
artistry historiographer Sir Ernst Gombrich and the artist Milein Cosman .The twenty-four
hours after the Anschluss ( the annexation of Oesterreich into the German Third Steve Reich
) on 12 March 1938 , Marie-Louise and her mother Henriette left Austrian capital , going to
Holland where Marie-Louise ’ s aunt , Ilse von Leembruggen , lived in the Hague .There she
had her first solo exhibition in Jan 1939 , but soon left with her female parent for England ,
travelling via Switzerland .In London they renewed their acquaintanceship with Oskar
Kokoschka ( 1886-1980 ) and met the author Elias Elias Canetti ( 1905–94 ) with whom
Marie-Louise was to explicate a relationship that lasted for more than thirty years , and a
agreement that continued until 1992 .Elias Canetti dedicated a solicitation of aphorism to
'Marie-Louise ' in 1942 ( these were published posthumously ) .Marie-Louise 's portrait of
Canetti is in the subject portrait drift in London .Her chum Karl had stayed behind in Vienna
; he was able to post a substantial contribution of their self-possession to Greater London ,
including Marie-Louise ’ s paintings .These were eventually installed in the sign of the
zodiac in Amersham in Buckinghamshire , bought by Marie-Louise and her mother in 1941
to be out of orbit of bombing raids on Jack London .Wherever Marie-Louise lived from then
on – in Amersham and then in Hampstead – space was provided not only for her studio , but
for Elias Canetti ’ s library from capital of Austria and Canetti himself .In Great Britain , von
Motesiczky joined the artist ’ International connexion and exhibited at the Czechoslovak
Institute in Jack London in 1944 .After the War she rented a flat in Jack London while her
mother stayed in Amersham until 1960 , when they moved into a large theater at 6
Chesterford Gardens in Hampstead that was to make up their home for the relief of their life
.Two solo exhibitions in the Hague and Amsterdam in 1952 were followed by others in
Germany and Austria in the 1950s and 60s .After the move to Chesterford Gardens Marie-
Louise ’ s time was increasingly dominated by the demands of caring for her female
parent .This prompted what was in many respectfulness her most remarkable organic
structure of work : a series of unflinching portraits of her female parent , expressive of the
depredation of long time but also the cryptical aroused bond between the two women .They
showed the growth of a distinctive fashion and submit affair of Marie-Louise ’ s own ,
moving on from the influence of Beckmann and Kokoschka .The first of all success in her
indigene country came in 1966 when the Wiener sezession staged a large solo exposition
which subsequently travelled to Linz , Bremen and Munich .Her discovery in the United
Kingdom of Great Britain and Northern Ireland occurred in 1985 , with a major
retrospective at the Goethe Institute in British capital , which generated often eclat and saw
her reputation as a John Roy Major Austrian artist cemented .However , on the subject of
exhibiting , as The fencesitter wrote in her necrology , `` Motesiczky never needed to sell her
house painting , indeed she preferred to restrain them around her '' .An patrician scorn for
the marketplace meant that , while she half welcomed expo , they remained uncomfortable
experiences . ''The retrospective was accompanied by essays from Gunther Busch , Richard
Calvocoressi and Ernst Gombrich .The Allen Tate art gallery acquired three painting and the
expo travelled to the Fitzwilliam Museum in Cambridge .The last John Roy Major exhibition
of her lifetime took place at the Ö sterreichische Galerie Belvedere in Vienna in 1994 .Marie-
Louise died in British capital on 10 June 1996 .Her ashes were consigned to the category
grave accent at the Dö bling Cemetery in Vienna .== Posthumous recognition == At her death
in 1996 , the compendium , along with the bulk of her demesne , passed to the Trust set up
in 1992 for the preservation and promotion of her work , supporting of the artwork and
other openhearted objective .It received charitable position on 21 November 1996 as the
Marie-Louise von Motesiczky Charitable cartel .A centennial exhibition was organised in
2006-07 , starting at Tate Liverpool and travelling to Frankfurt , Vienna and Passau , then to
Southampton artistic production veranda in UK .This was followed by the publication of a
biography in 2007 , a catalogue raisonné of the creative person ’ s paintings in 2009 and two
exhibitions at Galerie St Etienne in New York in 2010 and 2014 .In recent years , the trust
has been making contribution of Marie-Louise ’ s employment to public accumulation .She is
represented in local , regional , university and national museums in Britain , the Republic of
Ireland , Austria , Germany , the Netherlands and the United States .The great majority of
Marie-Louise ’ s drawings and sketch pad , the archive of her and her syndicate ’ S report ,
along with other docudrama items connected to her life and work , have been presented to
Tate where the file away veranda at Tate Great Britain has been named for her .Of her life in
art , she once remarked “ If you could only paint a 1 unspoilt picture in your lifetime , your
animation would embody worthwhile. ” Princess Diana Athill wrote about her friendship
with Motesiczky in her memoir 'Somewhere Towards the End ' ( Granta , 2008 ) .==
character reference == == Literature == Jeremy Adler , Birgit Sander ( Hrsg .) : Marie-Louise
von Motesiczky ( 1906-1996 ) .Prestel , Mü nchen 2006 , ISBN 3-7913-3693-2 ( catalog of
Exhibition in Liverpool 11 .April to 13 .August 2006 ) .Elia Canetti , Marie-Louise von
Motesiczky : Liebhaber ohne Adresse – Briefwechsel 1942-1992 ( published by Ines
Schlenker and Kristian Wachinger ) , Hanser , Mü nchen 2011 , ISBN 978-3-446-23735-3 Evi
Fuks u. a .( Hrsg .) : die Lieben .150 Jahre Geschichte einer Wiener Familie .