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Seated Youth (In the Morning), 1919

Leopold Museum,
Oil on canvas
152×93.1 cm


  • Anton Kolig

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

Currently on display at EG
Anton Kolig (1886–1950) approached his subject with nothing less than the utmost care. The anatomical scaffolding of the individual limbs and perspectival foreshortening is first established by a network of guidelines. The volume of each limb is then worked out by way of contrasts achieved by an elaborate painting technique that expertly employs accents of light and color. What results out of this process is this magnificent composition of a seated figure. The body is painted in shimmering reflections and positioned on the right; the opposite, quieter left side is occupied by a small brown cupboard. The figure is surrounded by many contrasting shades and doused with a morning light that radiates from above. Also called In the Morning, Kolig found it necessary to simulate the model’s physical presence. For decades, the male nude was a subject that the artist very much favored.

Object data

Seated Youth (In the Morning)
Art movement
Expressionism, Nötsch Circle
Oil on canvas
152×93.1 cm
Credit line
Leopold Museum, Vienna, Inv. 406
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: 131

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Provenance research
Leopold Museum i

Galerie Würthle, Wien (1925); (1)
Bruno Grimschitz, Wien (vor 1948); (2)
Privatsammlung, USA (o.D.);
Rudolf Leopold, Wien (um 1975-1994); (3)
Leopold Museum-Privatstiftung, Wien (1994).

  1. Ausstellung Anton Kolig, Galerie Würthle, Wien 1925: Verzeichnis Nr. 20.
  2. Friedrich Welz, Anton Kolig, Salzburg 1948: Werkverzeichnis Nr. 76.
  3. Elisabeth Leopold, Die Kraft der Farben. Das Spätwerk Anton Koligs, in: Hans-Peter Wipplinger (Hrsg.), Anton Kolig, Wien 2017, S. 54.

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