Sehnsucht - "Longing" - the title of this first painting, might seem to speak for all the other paintings and drawings here. Is it even possible that such astonishingly intimate images could have been created by an artist who was only "recording" the male form? Kolig was married, with children, but it would be inconceivable not to wonder if he had more than a merely artistic response to his models; some of these pieces - the drawings, especially - feel almost predatory. Could an entirely heterosexual man ever portray the male body the way this artist does?
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| Sehnsucht, 1920. |
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| Liegender männlicher Akt, 1947. |
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| Zwei liegende männliche Akte, 1939. |
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| Aufsteigendes Genie - detail study of an unrealized design for a wall fresco for the Vienna Crematorium, 1924. |
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| Zwei liegende männliche Akte, hinten, vorne, 1947. |
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| Kniender Narziß, 1920. |
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| Zwei liegende männliche Akte, before 1950. |
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| Großer Akt mit Spiegel, 1926. |
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| Liegender männlicher Akt, 1936. |
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| Jugend und Amor, 1911. |
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| Liegender männlicher Akt, 1933. |
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| Liegender männlicher Akt, 1944. |
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| Schwäbischer Adam, 1933. |
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| Liegender männlicher Rückenakt, before 1950. |
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| Klage, 1920. |
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| Liegender männlicher Akt mit Kopfpolster, before 1950. |
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| Sitzender Jugendlicher am Morgen, 1919. |
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| Liegender männlicher Akt, 1941. |
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| Liegender männlicher Akt, 1947. |
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| Verwundeter, 1917. |
*
Anton Kolig (1 July 1886, Neutitschein, now part of the Czech Republic - 17 May 1950, Nötsch im Gailtal, Austria), Austrian expressionist painter. The son of salon artist Ferdinant Kolig, he studied in Vienna with Oscar Kokoschka at the
Kunstgewerbeschule from 1904 to 1906, and with Heinrich Lefler and Alois Delug at the
Akademie der Bildenden Künste from 1907 to 1912. He married in 1911, and that same year his work attracted the attention of Gustav Klimt and Carl Moll, who arranged for him to be awarded a travel scholarship to France. He returned to Austria at the outbreak of WWI and, from 1916, was in military service, also working as a military artist in Vienna. He produced a wide variety of work, from portraits to large-scale frescos. The male nude is central to his work, and frequently appears in the context of allegorical studies. Some of his work was destroyed by the Nazis, but he was able to retain a teaching position as a professor at the State Academy of Fine Arts in Stuttgart until 1943, when he was forced into retirement. In 1944, he and his wife were seriously injured as a result of Allied bombing, and he spent the last years of his life in a small market town in the south of Austria where he died at the age of sixty-three.
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| Selbstporträt in einer blauen Jacke, 1926. |
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