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“Large Kneeling Figure” - Longing, 1922

Leopold Museum,
Oil on canvas
179.7×123.6 cm


  • Anton Kolig

    (Neutitschein/Nový Jičín 1886–1950 Nötsch im Gailtal)

Currently on display at UG2
By 1918, Anton Kolig (1886–1950) had made his way into Egon Schiele’s (1980–1918) inner circle and became a member of the Neukunstgruppe. Throughout the 1920s, he focused on portraits and allegorical subjects. In his most favored motif of the male nude, he chose a more antiquated, idealized aesthetic, tending to present the sitter as a youthful hero positioned as either relaxed and contemplative or in allegorically significant stances which emphasized athletic proportions, such as in the painting Large Kneeler. Kolig, like a virtuoso, understood how to generate the plasticity and volume of a body by way of his generous, spontaneous brushstrokes – a gift for which the artist was praised by his contemporaries. In 1928, Kolig took on a distinguished post as professor of painting at the Württembergische Art Academy in Stuttgart, a position he held until 1943.

Object data

“Large Kneeling Figure” - Longing
Art movement
Expressionism, Nötsch Circle
Oil on canvas
179.7×123.6 cm
Monogrammed and dated lower right: AK 22
Credit line
Leopold Museum, Vienna, Inv. 200
Inventory access
Contributed to the Leopold Museum-Privatstiftung in 1994
Selection of Reference works
  • Anton Kolig, hrsg. von Hans-Peter Wipplinger, Köln 2017 (Ausst.-Kat. Leopold Museum, Wien, 22.09.2017-08.01.2018)
  • Otmar Rychlik: Anton Kolig 1886-1950. Das malerische Werk, Wien 2001.
Catalogue raisonne
  • Rychlik 2001: 166

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Provenance research
Leopold Museum i

Galerie Würthle, Wien (1925-1948); (1)
Galerie Friedrich Welz, Salzburg (vor 1954-1957); (2)
Dr. Rudolf Leopold, Wien (1957-1994); (3)
Leopold Museum-Privatstiftung, Wien (1994).

  1. Ausstellung Anton Kolig, Galerie Würthle, Wien 1925, Verzeichnis Nr. 5; Friedrich Welz, Anton Kolig, Salzburg 1948, Werkverzeichnis, Nr. 103.
  2. Richard Milesi, Anton Kolig 1886-1950, Klagenfurt 1954, Abb. 11.
  3. Archiv des Leopold Museums, Rechnung der Galerie Welz, Salzburg, vom 15.12.1957 (bezeichnet als „Sehnsucht, 1922“)

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