Siegfried Anzinger (born in Feb 25, 1953) is an Austrian painter and a founder of the so-called “Neue Wilde”.
Siegfried Anzinger studied from 1971 until 1977 at the Academy of Fine Arts Vienna in Professor Maximilian Melcher. In 1981 he moved to Cologne, since 1998 is a professor of painting at the Art Academy Düsseldorf.
Anzinger lives and works in Vienna and Cologne.
Siegfried Anzinger studied with Maximilian Melcher from 1971 to 1977 at the Akademie der bildenden Künste Wien. In 1981, he moved to Cologne. In 1998 he received a professorship for painting at the Kunstakademie Düsseldorf. Anzinger lives and works in Vienna and Cologne. In 2013, he was elected to the Academy of Sciences and Arts of North Rhine-Westphalia.
The works of the painter Siegfried Anzinger suggest an impression of speed and spontaneity. Their execution is determined by a playful ease and immediacy, which points to the “non-finito” which is particularly important to the painter. The moment of the “unfinished” is also evident in the technical execution of his works: new paintings are added to his paintings, so that an image carrier can have up to twenty layers of paint.
If Anfender’s early works were strongly gesticulated and expressive, he rather withdrew in later works. He works consciously in series and paints parallel in three to four pictures.
Anzinger’s preferred remedy is the glue color, a thin, transparent color. However, once applied, this is no longer correctable. The composition must therefore succeed in one move. Through the special qualities of this medium, the artist acquired a great compositional security. If, however, Anzinger is not satisfied with an emerging work, he completely removes the glue color and begins anew.
Since around 2000, four paintings have dominated the work of the artist: animals, madonnas, creation stories and erotic representations. The latest works show line rests or color shifts, which the artist forms into new shapes and figurations.
There is also a parodistical show in Anzier’s work, especially in his painting “The Creation of an Ente” (2001), in which the artist takes the myth of creation. Here, he not only takes a stand against the history of art, but also incorporates his own meaning in the picture, for example the bath, which has the rank of a ritual object for the artist.