ROBIN CHRISTIAN ANDERSEN (Vienna 1890 - 1969 Vienna), Still Life, 1920

ROBIN CHRISTIAN ANDERSEN*
(Vienna 1890 - 1969 Vienna)
Still Life, 1920
oil/cardboard, 39,8 x 49,4 cm
signed R. C. Andersen and dated 1920
Provenance: private property Upper Austria

ESTIMATE °€ 2.500 - 5.000
START € 2.500

Austrian painter of the 20th century. His father Christian Georgius Andersen came from Denmark, ran a workshop for decorative painting in Vienna from 1880. Attended the Robert Scheffer painting school in Vienna from 1905 to 1907, together with Anton Faistauer, Gustav Schütt, Anton Peschka and John Quincy Adams. 1907 to 1908 at the painting school of Gustav Bauer (formerly Heinrich Strehblow). In 1909 and 1910, with Anton Faistauer and Gustav Schütt, travels to Monte Verità near Ascona in Italy. With Egon Schiele, Anton Faistauer, Albert Paris Gütersloh and Anton Kolig in the Neukunstgruppe, also a member of the Kunstschau and later the Neue Secession and the Sonderbund. In 1913 his sister married Anton Faistauer. From 1920 member of the Hagenbund, 1921 co-founder of the Gobelin Manufaktur and participation in exhibitions of the Salzburg Association Wassermann. Known students such as Franz Elsner, Lisi Engels, Kurt Absolon, Eduard Angeli, Joannis Avramidis, Liselott Beschorner, Johann Fruhmann, Leopold Ganzer, Franz Grabmayr, Giselbert Hoke, Alfred Kornberger. Remained faithful to the figurative style of representation, created mainly portraits, landscapes and still lifes. Intensive study of Paul Cezanne, painterly expressionism of color and form with an approach to New Objectivity. Works mainly in the possession of the Leopold Museum, the Albertina and the Austrian Gallery Belvedere.

In 1909 a group of young artists around Egon Schiele founded the Neukunstgruppe. Among the 15 founding members are Hans Böhler, Anton Peschka, Anton Faistauer and Robin Christian Andersen. A little later, Oskar Kokoschka and Albert Paris Gütersloh also joined. As a member of the Neukunstgruppe, later the Wassermann Artists' Association, the Hagenbund and the Vienna Secession, Andersen was intensively advocating modernism and joined those artist groups that represented an innovative and individualistic view of art. Andersen's depictions are characterized by the sovereign rendering of surfaces and sensitive lighting. His pastel drawings are also characterized by an exciting interplay of strong contour lines on the one hand and sensitive, gently shaded inner drawings on the other hand, made up of graphically linear and painterly two-dimensional design elements. The bodies are modeled by the bright, spotlight-like light. Andersen's interest in the relationship between form and surface is evident in the pastel drawings as well as his oil paintings. In this respect, his pastels are close to Kokoschka's nude drawings, whose work is familiar to Andersen from their time together in the new art group.

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