Galerie Saint Georges

Tableaux, dessins et objets d'art

Emilie Mediz Pelikan (1861 - 1908)

Peintre et lithographe autrichienne

Projet de vignette, personnage assyrien

VENDU

Encre de Chine sur carton

Vers 1905

22 x 14 cm



Emilie Mediz Pelikan étudia à Salzbourg, Dachau et en Belgique. Elle prit part à la première exposition de la Sécession viennoise en 1898. À partir de 1902 elle participe aux expositions du Hagenbund. L'oeuvre  d'Emilie Mediz Pelikan et de son mari Karl Mediz fera l'objet d'une rétrospective à Vienne en 1986.

Bibliographie
“A Vision of Nature, Traces of the Original World”, Michael Tobias, 1995
“Out of the darkness of Forgotten Existence: the Lives and Work of Karl Mediz and Emilie Mediz-Pelikan”, Ludwig Hevesi
 “E. Mediz Pelikan”, E. Tromayer, 1986
“The Art-Revival in Austria”, Charles Holme, 1906
“Two Austrian Painters: Karl Mediz and Emilie Mediz-Pelikan”, A.S. Levetus, 1905
"Karl Mediz (1868 - 1945), Emilie Mediz-Pelikan (1861 - 1908): ein wiederentdecktes Künstlerehepaar : Gemälde, Pastelle, Zeichnungen" ; Gallerie Biedermann, Munich, 1987
"Emilie Mediz-Pelikan, 1861-1908, Karl Mediz, 1868-1945" ; Hochschule für Angewandte Kunst in Wien, 1986
"The Studio", 1899

Muséographie
Oberoesterreichisches Landesmuseum, Linz, Autriche
Belvedere, Vienne, Autriche

In the  " Hagenbund " we also came to know the Dresden couple, Karl  Mediz (born in 1868) and Emilie Mediz-Pelikan (born in 1862).  They followed an almost identical path of expression and development, which led them to Dachau, to Uhde and to the Belgian fishing  village of Knokke some of the head-quarters of impressionist students.  Both husband and wife have a picturesquely fantastic vision of things, which, in their representation of ice-clad mountains, becomes quite  stylise ; and in contrast to a background of panoramic character, the  foreground is depicted with almost microscopic accuracy. Thus Karl  Mediz paints every thread, every hair in his life-size Eismanner, which  made his reputation and now hangs in the Modern Gallery ; and  in the same way Emilie Mediz-Pelikanin, her slender little trees  in tubs, which she generally likes to place on some terrace on a  Southern sea, depicts even the tiniest crack in the bark. They have  both painted much in these Southern seas chiefly about Corfu and  have studied the blue deep with a bird's-eye view as it were. Karl  Mediz is also a master of portraiture. He has done quite a series of  portraits of persons in Dresden society, all executed with minutest  precision.  
In “The Art-Revival in Austria”, Charles Holme, 1906