CREATES A COLLECTION FOR POSTERITY PART 1 OF A SERIES
THE STRENGTHENING OF BANKING GOES HAND IN HAND WITH THE FLOURISHING OF THE ECONOMY AND THE GROWING WELLBEING IN THE YEARS FOLLOWING THE POSTWAR RECONSTRUCTION PERIOD. THE ‘SPARKASSE ZU INNSBRUCK’ INSTITUTION FOUNDED IN 1822 WAS THE FIRST OF ITS KIND IN TYROL. ITS AIM WAS TO DEDICATE ITSELF TO PROMOTING CULTURE, TO THE FORMATION OF SAVING ACCOUNTS, AND TO MAKE PROVISIONS FOR A VAST RAFT OF SOCIETAL CLASSES WHICH ALSO INCLUDED MANY TYROLEAN ARTISTS.
After all, artists and their art were the ones who had to fight the hardest to establish their place in society after overcoming the period of ‘greatest’ hardship and the return to normalcy. Politically speaking, we have to speak of and recognise the work of the region’s representative, Gottfried Hohenauer. As Minister for Culture in the province, he’d recognised the precarious situation of an art picking itself back up on its feet. He ensured first steps were taken with financial aid policies to develop art which, after the ‘blood and anguish‘ of the war, crossed the threshold into an unprecedented period of MODERN art which was initially treated with horror and rejection. By implementing the 2% conditions for public buildings, politics succeeded in providing financial aid for the development and personal existence of artists as well as engaging with art in public spaces. For artists born after 1910 such as Gerhild Diesner, Gottfried Fuetsch, Inge Höck, Wilfried Kirschl, Elmar Kopp, Jos Pirkner, Helmut Rehm, Oswald Haller and especially Max Weiler (to name just the most important representatives) doors were opened that, in hindsight, can be perceived as interesting artistic and historical elements.
Max Weiler, who sparked absolute horror in Innsbruck with his frescoes in the Theresienkirche Church, on the Hungerburg and in the train station, was possibly the godfather of the mosaic pillar in the hall of the TIROLER SPARKASSE which, today, has pleasantly, but unnoticed by most people, survived countless renovations. ‘Like a landscape,’ said Max Weiler about his mosaic built into the surface of the walls in the nearby Maria-Theresien street. Artist RUDOLF KREUZER, some years younger than him, was only known by few as an excellent mosaic painter, and could show his skills off here as well as on the facade of the Rauch-Futter building in Hall. Besides the wealth of works that the artists left behind in public spaces such as mosaics, sgraffitos, glass, and other techniques, more manual works on paper or canvas also play just as an important role. The establishment of institutions such as the Tiroler Künstlerschaft, but especially the foundation of the regional Gallery in the Taxis Palais as well as the growing interest in exhibitions led to the growing awareness about artists who had, in the time being, become established. Slowly but steadily, a competition started being developed in banks during the ‘60s which specialised in purchasing works of art, mostly as exhibitions. The TIROLER SPARKASSE foresaw these practices and created a collection featuring a specific type of theme, namely ‘Tyrolean art of the post-war period‘ curated by an expert jury and, over the course of the years, these collections grew and grew. The exemplary cataloguing as well as the expert archiving of those works which were not exhibited in the offices and weren’t meant for the public’s eyes occurred between 2004 and 2008.
With the slogan ‘Art is our most important asset and heritage. art conveys values and feelings and is a medium to express what language cannot say‘ (Peter Tiefenthaler) the young generation of Tiroler Sparkasse workers follow an open policy investing in involving their clients in shaping an unpublished collection. The intention of ‘being open’ will be implemented by running publications and printing pictures in the MILIONART art magazine, an art magazine with a twist, whose creation is of utmost importance to the Tiroler Sparkasse and especially the PRIVATE BANKING department. Knowing that certain regular clients enthuse about art and exciting publications on art, the first attempt at this project will be kicked off by the following concept: PAUL FLORA, just like WILFRIED KIRSCHL is one of the most important ‘institutions’ of the country. A national treasure, if you will. Known for being an outstanding art publicist, art manager and promoter and an artist, together with Gerhild Diesner he revolutionised the artistic borders of Tyrol. They both engaged with the French avantgarde movement by participating in the activities of the Alliance Franciase. Kirschl remains true to his choice of subjects with his landscapes and still life. He manages to capture unique and unmistakable snapshots by reducing everyday objects as well as southern impressions to geometric basic forms that always depict scenes with elegance, refined discipline and an unusual elegance and feel for colour.
Back then only Erich Kästner certified that his friend PAUL FLORA ‘made unblemished white somehow reach its full potential’, years later we have to admit he was right. Flora‘s ‘sharp quill’, his pencils and even his etching needles move in a plane between cool linearity and graded nuances of grey. In the obtained contrast he finds a tool to make things alive, that allows the drawing to acquire a certain je ne sais quoi of a painting. His fantastical thoughts steeped in reality, critical and often curious depictions are witnesses to how much joy painting gives him. Discreet colours are what characterise contemporary artists MAURIZIO BONATO and VERONIKA GERBER. Focused on the choice of their still life subjects, we come across her poetic and narrative sides in one of her early works. Capturing ‘normal objects‘ is in contrast with the artistic path represented by oriental philosophy used by Bonato in his nearly meditative HUANGHE, Yellow River impressions from 1989.
The 68 cm big bronze sculpture from the Metamorpshosen Zyklus, Figur I, completed in 1991 by GEORG LOEWIT is part of the relatively small sculptural collection. The goldsmith, painter and sculptor was especially active in public spaces and he seems to gift his abstract humanoid figures, covered in green, with arms. Thanks to their own strength they create change, a change which brings us to a logical result, embodied by his latest figures.