Gabriele Baumgartner, 2013

Josef Mikl counts among one of the most influential artists after World War II. Born in Vienna in 1929, he lived and worked in his home town until his death in 2008.

His curriculum vitae lists impressive international successes, countless exhibitions and tributes. These as well as the manifold projects he was hired for are indicators for his importance. Along with stained-glass windows - e.g. the Hiroshima Memorial Peace Cathedral - he designed goblets and chasubles for sacral purposes. He designed bill boards, stage settings, costumes for theater productions, jewelry and clothing.

He occupied himself intensely with literature and created, amongst others, art series for Johann Nestroy’s ‘Häuptling Abendwind’ and Nikolai Gogol’s ‘Tote Seelen’. Josef Mikl wrote and illustrated satiric papers of which several were exhibited and even published.

His name is not only connected to his long professorship at the Academy of Fine Arts Vienna, but also to his affiliation with the legendary artist Group Galerie St. Stephan (Wolfgang Hollegha, Josef Mikl, Markus Parchensky, Arnuf Rainer). Mikl is indelibly connected to Austria’s history of art, most of all through his largest assignment: The interior design of the Grosser Redoutensaal in the Hofburg Palace in Vienna. After the destruction of the entire furnishing of the Grosser Redoutensaal through a fire in 1992, the Republic of Austria decided to redesign it. A competition was launched to find an artist fit to do the job. Josef Mikl was able to impress with his painting based on works by Karl Kraus, Johann Nestroy, Elias Canetti and Ferdinand Raimund, and managed to draw the jury to his side. Between 1994 and 1997 he created the 404m2 (34,80x11,60m) ceiling in oil on the canvas as well as the 22 wall paintings with a collected area of 214m2.

Josef Mikl’s paintings may seem abstract to the eyes of an observer who is not used to his art. The artist insisted on several occasions: There is no abstract art. After prolonged observation and taking the titles of the works as a hint and allowing yourself to “enter” the painting, the observer will be able to recognize the shapes and the objects of the painting. Once immersed in the shape- and art language of Mikl’s works, an exciting perception will reveal itself. The artist himself explains the process of immersing yourself, engaging yourself with the art: There are few who understand paintings correctly - one wants to think first and then observe. Observing is the intellectual task.