This exhibition brings together two of Arnulf Rainer’s celebrated series on the occasion of the artist’s 95th birthday: the Goya paintings and Landscapes, both created between 1983 and 1992. In his uncompromising search for new means of expression, Rainer developed radical approaches to art, establishing him as one of the most influential artists of the post-war period. The exhibition at Thaddaeus Ropac Salzburg coincides with a major institutional exhibition at the Arnulf Rainer Museum in Baden near Vienna, on view until 5 October 2025.
Through overpainting Rainer effectively enters into a dialogue with the works of other artists and into a conversation with himself. […] A comparison to works by other artists, against the backdrop of various art movements or cultural contexts, reveals their idiosyncrasies, the special position they occupy in twentieth-century art history.
— Nikolaus Kratzer, curator of the current exhibition Arnulf Rainer: Nothingness Against Everything at the Arnulf Rainer Museum
— Nikolaus Kratzer, curator of the current exhibition Arnulf Rainer: Nothingness Against Everything at the Arnulf Rainer Museum
In the Goya series, Arnulf Rainer pays tribute to Francisco de Goya (1746–1828), whose art – deeply attuned to the complexities of his time – explored dark, surreal themes that foreshadowed modern existentialism and abstract art. Rainer probes the paintings of the Spanish master by reinterpreting them through expressive overpainting, and the finished works oscillate between homage and radical transformation. ‘Paint, […] helps Rainer to transform his composition into a different physical state,’ writes art historian and curator Helmut Friedel on the subject of Rainer’s ‘attacks’ upon the underlying motifs. Some pieces in this series feature discernible faces, while others show semi-abstract oval structures, only faintly reminiscent of heads – or tunnels and archways. An azure-blue and reddish-pink tonality runs through the series, lending the depictions a surreal quality, overlaid with deep-black gestural brushstrokes. Based on photographic enlargements of Goya’s portraits, Rainer’s intense, expressive depictions adopt the stark contrast and raw quality of expressionist woodcuts. By enlarging Goya’s imagery to such a degree that the photo fragments into Benday Dots, Rainer draws a connection to postmodern movements such as Pop art.
Arnulf Rainer
Serie Goya, 1983
Mixed media on photo on wood
62.6 x 52.9 cm (24.65 x 20.83 in)
Heads and faces have been recurring motifs in Rainer’s work throughout his career. At first, the artist documented his own grimaces and other exaggerated facial expressions, drawing on dormant or manic reserves of energy to express the tensions of inner states. He has noted that facial expressions and body postures predate the spoken word as forms of human communication, and he considers them more complex and meaningful than language. In the late 1960s, he frequently took photo-strip portraits during nightly sessions in the automated photo booth at the Westbahnhof train station in Vienna. During an experiment with mescaline, a psychedelic, he perceived spots of colour appearing on these portraits and, acting upon this impulse, began overdrawing the photographs, initiating his famous Face Farces series (1970–73). In the subsequent decades, Rainer turned to portraits by other artists, including works by Vincent van Gogh and Rembrandt. Through the process of overdrawing, he emphasises the expressive moments captured in the artworks of his predecessors, and these graphic or colourful adaptations either correspond to the mood of the underlying image or contradict it.
Arnulf Rainer
Serie Goya, 1983
Mixed media on photo on wood
63 x 52.4 cm (24.8 x 20.63 in)
Paint […] gathers in an increasingly dense and impenetrable veil. It is a form of painting that [...] ruthlessly suppresses the previous image and the previous surface and makes them disappear. [...] For him, Rainer once said, art history is not a history in which one style replaces another. For him, art has a cumulative quality; what he has painted will remain, a part of his knowledge. An artist makes the past his own and adds something new.
— Rudi H. Fuchs
— Rudi H. Fuchs
Rainer’s Landscapes combine depictions of nature with his characteristic gestural overpainting. The works express his exploration of nature as a means to convey internal conditions, while fluctuating between abstraction and figuration. Landscapes characterised Rainer’s very beginnings as an artist. While still at school, he painted cartographic landscapes inspired by aerial photographs, including bomb craters, fires, tanks and aeroplanes in drawing lessons, avoiding figures and faces. In 1945, he fled from Russian occupation in Lower Austria to relatives in Carinthia, where he painted a series of uninhabited landscapes over the next few years, a period that marked his decision to become an artist.
Arnulf Rainer
Ohne Titel, ca. 1989
Mixed media on chromolithography on cardboard on wood
76.5 x 105.2 cm (30.12 x 41.42 in)
In contrast to his earlier overpainting, nature takes centre stage as an autonomous motif in this semi-abstract, intensely colourful Landscapes series. Illustrations from 18th and 19th century books, which Rainer began collecting in 1985, serve as the substrata of these works. The idyllic sceneries shine through multilayered applications of paint – sometimes diluted, dripping and fluid, sometimes in dense, opaque individual strokes. ‘The transparent layers of paint allow the deeper layers of paint to shine through. This creates an enchanting world of secrets and radiant lightness,’ writes Helmut Friedel. Elements, such as hills, trees or streams, remain recognisable but are fragmented and placed in new contexts through the overpainting and gestural interventions.
Arnulf Rainer
Ohne Titel, ca. 1989
Mixed media on chromolithography on cardboard on wood
76.5 x 105 cm (30.12 x 41.34 in)
Arnulf Rainer's work continuously confronts the viewer with the contrast between image and non-image without harbouring any hidden contradiction or irresolvable contrast. His inexhaustible greed for new images that stimulate him - 'they provoke him' (A.R.) - and that demand a reaction from him is demonstrated not least by his numerous overdrawings of books. [...] Hardly anything could be more forbidden than this sacrilegious act against the book, the cultural asset of the bourgeoisie par excellence.
— Helmut Friedel
— Helmut Friedel
