1884 – 1905 Early Life
Felix Albrecht Harta was born in Budapest on July 2, 1884, the son of a wealthy merchant, Moritz Hirsch, and his wife Theresia. When Harta was three, the family moved to Vienna, and Felix spent his young childhood with his brother, Ernst, and sister, Alice. Moritz was strict, and the two often clashed. However, his mother often defended him. It is noteworthy that both sons later would change their surnames: Felix to Harta, and Ernst to Reinhold.(1)
Harta’s love of painting emerges early and certainly was influenced by his father’s large collection of pictures.(2) After middle school, Harta knew he wanted to study painting. In July of 1901, He graduated High School, and went on a celebratory trip to Salzburg where he painted two watercolors in Mirabell Garden, then on to Munich, and ultimately to Innsbruck.(3) Harta’s love of travel would continue to influence his art throughout his life.
Harta’s desire to become a painter clashed with his father’s insistence that he study architecture. So young Felix spent four and a half years at the Technical University in Vienna studying under Arnold Hatschek. where he volunteers to work as a draftsman(4). Here he learned about the problems of representation of space and spatial relationships, a training that would later benefit his drawing and painting.(5) Then in the spring of 1905, Harta demanded to stop studying architecture, and enroll in Art School. His father relented, and he enrolled in the Art School at Dachau- starting his studies as a student of Professor Hans von Hayek.(6) In the winter of 1905, Harta passed the entrance exam at the Academy München and was admitted to the painting class of Prof Hugo von Habermann.(7) At the academy he makes friends with future notable painters like Hans Eder, Jules Pascin, and Julius Schülein.(8)
1908-1918 Study Trips and Meeting the Vienna Moderns
In 1908, Harta embarked on study trips-first to Paris where he studied the old masters such as Titian and Tintoretto, and then became captivated by French Impressionists like Cezanne, Manet, Renoir, Courbet, and Van Gogh. In the summer he traveled to Brittany and that fall, he exhibited four paintings at the Salon D’ Automne in Paris.(9) From Paris, he undertook a three-month study trip to Spain and immersed himself in the painting style of masters like Velasquez, Greco, and Goya. He writes an extensive essay regarding his observations in Spain around 1937-38. (10)
In the Fall of 1909, Harta returns to Vienna where he meets and falls in with a group of young painters that include Egon Schiele, Anton Faistauer, Oskar Kokoschka, Paris von Gütersloh, Anton Kolig, and others. Because of his travels outside of Austria, they find his ideas interesting, and he is considered the more cosmopolitan among them. (11, 12) They meet daily at the Café Museum, interacting also with notable older painters, and musicians. Harta also develops a friendship with Austria’s leading painter, Gustav Klimt. This period is significant in the genesis of Austrian Expressionism since around this time Egon Schiele organizes the New Artist Group (Neukunstgruppe). Many histories include Harta as a founding member, but this is inaccurate; although he is clearly associated with them, he does not exhibit at their three exhibitions at the Pisko Art Salon.(13) Meanwhile, in July 1908, his brother, Ernst Reinhold, a close friend of Kokoschka, was the lead actor in Kokoschka’s controversial play, Murderer, Hope of Women”, performed at the 1909 Vienna Art Show. Kokoschka also paints a portrait of Ernst titled “Der Trancespieler, (The Trance Player) exhibited for the first time at the 1909 Vienna Kunstschau, (14) and paints his famous portrait of Harta that resides today in the Hirshhorn Museum and Garden of the Smithsonian Institute in Washington, D.C., however what is generally not known is that Harta painted an oil portrait of Kokoschka that unfortunately is lost. (15)
During 1910-1911, Harta travels to Belgium, and spends a great deal of time in the old city of Bruges. His several paintings created there were exhibited in the 38th Exhibition of the Vienna Secession, from April to July 1911. (16)
In the spring of 1911, he meets his future wife, Elisabeth Hermann (nicknamed Elly). Elly is the daughter of Josef and Helene Hermann an industrialist family who lived in Hietzing,Vienna, and owned a residential house, and a large garden, that contained a small Biedermeier-style cottage that they eventually rent to Klimt in 1911 with assistance from Harta, and Elly. This property later would become known as "Klimt’s Last Atelier"-in oral history referred as “Klimt Villa"- at Feldmühlgasse 11 in the Hietzing district. (17) Harta also exhibits with the young modernists, such as the significant Sonderbund exhibition in Cologne in 1912. (18)
In 1913, Harta successfully participates in the 43rd Vienna Secession exhibition where he dominates the first room with his paintings from his second stay in Bruges (19) and in March, exhibits in the exhibition of the Viennese artists in Muvszhas, Budapest. (20) That summer, he again travels to Paris together with his friend, the painter, Albert Paris von Gütersloh. Here Harta makes acquaintances with some of the Futurist painters like Marinetti, Boccioni, and Severini; visits the painters such as Utrillio, and Suzanne Valadon, and also meets Rodin and the poet Rilke. (21). In December of 1913, Harta together with Erwin Lang, Bernard Loffler, and The Academic Association for Literature and Music organize The International Black and White Exhibition in Vienna. This exhibition was praised as the most important since the two Kunstschau events in 1908 and 1909. (22) The artist, Albert Paris von Gütersloh wrote a lengthy essay in the catalog titled, “Background for F.A. Harta;s Depictions of Montparnasse in Paris.(23)
In April 22, 1914, he marries Elly in Vienna, and at the end of December, they have their first child, Eva-Maria. Interestingly, in early 1915 Harta visits Egon Schiele in his studio, and he draws a sketch of baby Eva, that unfortunately is lost (24). Between 1915 and 1916, their relationship becomes closer evidenced by several portrait exchanges, and correspondence (25). The most well-known of these are the portraits they drew of each other for the art magazine, Die Aktion (26).
In 1916, Harta participates in the Wiener Kunstschau Exhibition in the Berlin Secession where he showed nine oil paintings, and twenty-two drawings (27). In the spring, he moves with his wife and daughter into a house in Feldmühlgasse 12 on the outskirts of Vienna, across the street from Klimt’s Atelier where he leads a beautiful life filled with parties, painting, music, and the warmth of his family. This idyllic time is interrupted by the outbreak of the First World War.
In Nov of 1916, he enters military service, first serving as a one-year volunteer with the Imperial-Royal (k.u.k.), train replacement division No, 16 in the South of Yugoslavia. (28) He is concerned about being in an infantry division, so he writes to Klimt who approves his request to be assigned to the War Press Headquarters, as a war painter. (29) As a member of the War Press Quarters, he draws and paints numerous works of pilots, especially of the 6th, 10th, and 11th Army, airfields, peasant scenes, and landscape in the Italian theater of the war, and Eastern Galicia (30). He also participates with the art group of the k.u.k at two War Exhibitions in Vienna in 1917 and 1918, where he shows his drawings of East Galicia motifs. (31)
1918-1924: Salzburg and the Development of “Der Wassermann”
1918, ushers in several important events in Harta's life. In March, Harta exhibits seventeen oil paintings at the 49th Vienna Secession. This important exhibition is immortalized by Schiele's poster "Die Tafelrunde (The Round Table) that depicts Harta and the other innovative young Austrian artists sitting around a long table. Harta also rejoins his family in Salzburg. This initial period is difficult not only because of the trauma of the war, and the fall of the Austro-Hungarian monarchy, but Elisabeth’s brother, Julius had been killed in action in August of 1917 at the Russian-Romanian front. (32) Nevertheless, Harta returns to the coffee house, and becomes friendly with some remarkable people such as the writers, Stefan Zweig, Hugo von Hofmannsthal, and Hermann Bahr, the Theater director, Max Reinhardt, the painter, Alfred Kubin, Bernhard Paumgartner, the director of the Mozarteum, and the Hotel owner, and writer, Alois Grasmayr. (33). They meet at the Café Bazaar on a daily basis; and are frustrated at the collapse of the Austrian-Hungarian monarchy, while being united in their desire to create a new artistic vision for Austria. (34)
On October 7, 1918, Harta briefly goes back to Vienna where he meets Egon Schiele for the last time. Shortly after, Schiele dies of the Spanish flu, as does his wife, Edith and Harta, deeply shook writes in his memoir:
“A strange and peculiar world is perishing with Schiele. Of all of us younger painters in Vienna, he was the most firmly established. His early death explains his early maturity." (35)
Harta strongly advocates for the idea of an artistic association in Salzburg. He and others previously mentioned felt it was necessary to renew and revive the art and cultural scene in Salzburg. (36). In addition to countless discussions with the leading artists and intellectuals in Salzburg, he carries on a robust letter exchange with his friend, and fellow-artist, Anton Faistauer. (37) Faistauer argues against founding a new artistic association, but Harta prevails, and the new rebellious association is named “Der Wassermann” (Aquarius in English). (38) Harta is cited as a founder, and named President. (39) The exhibit not only focused on painting, but included visual arts, with sub-divisions for graphics, music, and literature. (40) The first Wassermann exhibit opened on August, 3, 1919, with its main theme being “Religious Art”. Harta featured ten oils; other notable participants were Faistauer, Oskar A.Vonwiller, Anton Kolig, Robin C. Andersen, Broncia Koller-Pinell, Schiele,(posthumously) Kubin, and Franz Wiegele. Moreover, mainly due to Harta’s large circle of friends, painters from Germany, France, and Switzerland registered works (41). The first exhibition was a success evidenced by setting a new record for attendance (42), critics however were viscerally divided in their opinion of the new art, (43). Today it is recognized that “Der Wassermann” introduced modern art to Salzburg. (44) The second “Wassermann” opened almost simultaneously with the first Salzburg Festival on August 20th 1920 (45). The exhibition focused mainly on graphics, and Harta showed 21 works. (46). Its noteworthy that Gustav Klimt works were shown for the first time in Salzburg and again, Schiele.(47) Moreover, in 1920, Harta founded the Neue Galerie, a space provided to the Wassermann artists on the second floor of Walter Schwarz’s department store located in the former Ludwig Viktor-Platz. (48). Harta also created the poster for the first exhibition at the Neue Galerie. (49) The Third and final exhibition in 1921 was marked by the theme of “Internationality” and was aptly titled: “The International Black and White Exhibition.” It was held in the Künstlerhaus, and featured 500 works. The main hall included French masters like Manet, Rodin, and Delacroix; Picasso from Spain was displayed, and works from Germany by Lovis Cornith, Ernst Barlach, and Kate Kollwitz were seen. Austria was well represented by Harta, Faistauer, Klimt, Schiele, Kokoschka, and Kubin. (50). Harta and Faistauer had ambitious goals. In addition to the three successful Wassermann exhibitions, they also arranged for a monument to the Austrian painter, Hans Makart at his birthplace. (51) Finally, they worked hard to establish a modern painting academy in Salzburg but the lack of financial support from the city, and state brought a swift end to this groundbreaking idea. (52) However, they were successful in setting up a gallery of old and new masters that today is known as “The Residenzgalerie”, that opened on August 28, 1923. (53)
On March, 21st, 1921, Harta is baptized into the Catholic faith, with the critic and scholar, Hermann Bahr serving as his Godfather. (54) Harta and Elisabeth also celebrated the birth of their second son, Klaudius (Claude) on Oct, 29th, 1920. Harta’s exhibition activity is robust with registrations at the 1920 Kunstschau at the Austrian Museum for Art and History, and in 1921, exhibitions in the 41st Berlin Secession, Munich New Secession, the 38th Hagenbund in Vienna, and the Kunstverein in Salzburg. (55)
1924-1939: Return to Vienna and the Hagenbund
In early 1924, Harta returns to Vienna, and in March of that year, exhibits twenty-four oil paintings, and thirty-seven graphics in the Künstlerhaus of the Cooperative of Fine Artists in Vienna. (56) At the same time, he becomes a member of the Hagenbund.
During 1926 and 1927, he returns to Paris and Southern France. He exhibits at the Salon d’Automne, Paris, The Salon du Franc, The Café du Dome, and The L’Exposition Internationale des Beaux, where he receives the diploma d’Honneur, Bourdeaux. (57) In 1929, he receives the Austrian state prize for his poster for the Vienna Festival Week. (58)
From 1928 to 1930, he again participates in a large number of exhibitions, and serves actively as a member of the Hagenbund, where he is elected as a member of the executive committee, then Secretary (1929-31), Vice-President (1932-33), and again as a member of the executive committee (1934-35). Harta also creates the posters for the 58th and 66th Hagenbund exhibitions, as well as designing the poster for the 1931 European Sculpture Exhibition. (59). Recent research into the Hagenbund Network shows that Harta was one of only twelve artists that most often exhibited in the Hagenbund between 1930 and 1938. (60) During this time, he also takes on students such as Ilse Tauber, and the artist, Frieda Salvendy (61).
In 1927, the Hartas, vacationing in Styria, meet and take in a young woman, named Gusti Wolf. Gusti would go on to become a renowned Austrian stage, screen and television actress, and credits being adopted by Harta as changing the trajectory of her life. (62) Harta draws many portraits of her, but his most notable painting hangs in the Portrait Gallery of the Vienna Burgtheater. (63).
1938 was not a good year for Harta. First there was a fire in the Neue Galerie, where many of his pictures were destroyed. Then in March of 1938, the Germans occupy Austria (The Anschluss). Racial laws quickly are passed, and despite his conversion to Roman-Catholicism, his exhibition activity is negatively impacted. (64). Despite the political risks, Harta allows the well-known expressionist dancer, Hilde Holger to have dance lessons and secret performances in his studio. (65) Personal Records also show that as early as May 1938, he registers with the US consulate for immigration to the U.S., but this never materialized. (66) Consequently, in 1939 he and Elisabeth are forced to leave Vienna and emigrate to England, where he settles in Cambridge.
1939 – 1950 Emigration and Time in England
His initial stay in England is marked by trauma and difficulty. First, in May of 1940, he is arrested by British authorities, and taken to a squalid concentration camp at Huyton, near Liverpool where the British authorities needed to determine who was a German sympathizer or spy. After three months of hardship, he is released, and returns to Cambridge. (67) Then in the fall of 1940, his apartment in Cambridge is bombed in the German Blitz attacks on England. These difficult experiences are critical to understanding the direction of his stylistic development, wherein his paintings and drawings become conservative. Historians have speculated that he is traumatized by his forced emigration, loss of wealth, and his temporary arrest, and incarceration in a British concentration camp. (68) Although, there is some truth to this, he also needed to earn a living, and is separated from his two children who also were forced to emigrate to America, and from his way of life. His artwork in England is characterized by portraits of English aristocracy, family portraits, and a number of landscapes from local counties like Sussex and Essex. In 1942, He had a solo exhibition of his watercolors and drawings in Heffers Gallery, Cambridge and at Foyle’s Gallery in London that are not listed in his catalog, but are evidenced by archival records. (69) Moreover, biographies in exhibition catalogs claim he “taught” at Cambridge, but searches do not support that he was employed in established academic positions during his stay in Cambridge. There is a chance that he was connected to the University which did not carry membership, but this remains a line of inquiry. (70)
1950-1967 Return to Salzburg
In the spring of 1950, Harta returns to Salzburg. He exhibits his English watercolors, and drawings in a 1954 collective exhibition at the Salzburg Künstlerhaus, and resumes relationships with his old friends, and a large circle of Salzburg celebrities. (71) According to his personal records, he is deeply occupied with thoughts of religious content, motivated by his negative experiences during the war. This preoccupation with religious themes is nothing new, since many of his post WWI paintings were religious in nature.
In 1956, he organizes the International Portrait Exhibition Salzburg which took place between July 19 to August 12, 1956 in the Künstlerhaus. Harta contacted his friends and colleagues scattered across the world for help in bringing portraits for the exhibition. Many countries and notable artists were represented, such as Albert Birkle, AP Gütersloh, Carry Hauser, Oskar Kokoschka, Anton Kolig, and Rudolf Wernike. The catalog shows that he exhibited six works, two oils, two watercolors, a charcoal, and an etching (72).
During this time, he paints many portraits, and is considered to be the leading portraitist of Salzburg society in the 1950’s. Some of his famous subjects are the internationally renowned conductors, Herbert von Karajan, and Wilhelm Furtwangler, his close friend and Mozarteum Director, Bernhard Paumgartner, the composer, Kasimir von Pasthory, the mayor of Salzburg, Stanislaus Pacher, the stage designer, Teo Otto, and the architect, Clemens Holzmeister. (73) His reputation also extends to America, when in 1956 he painted President Dwight Eisenhower’s portrait which was presented to Ike as a gift. (74). In Dec of 1959, Harta’s wife, Elisabeth passes after a long illness. In the fall of 1960, he marries the Baroness Margarethe Daisy De Baillou, and they live together quietly in the Pfeiffergasse section of Salzburg.
In a diary entry, in 1960, Harta philosophizes about his life:
“A strange time, a time of tension and fulfillment, of expectation and resignation, problems pile up wherever I look, and yet I stand Inwardly above them; perhaps lack of ambition is the reason I have already achieved so much in life and lost so much, so the feeling of joy is muted and I do not think much of happiness. The world in which I live is alien to me I miss any relationship with atoms, moon rockets, and whatever kind of mind agitates today Man does not change, he has remained the same with all his faults and virtues.” (75)
Professor Harta passes away on November 27 of 1967 at the age of 83, and was buried in the cemetery of St. Peter. His paintings and graphic work continued to be exhibited posthumously, and several curators include at least one Harta work in any retrospective on Austrian Expressionism from 1908 to 1938. In 2019, two major museums, The Belvedere Museum, Vienna, and the Salzburg Museum collaborated on a large groundbreaking exhibition entitled: “Faistauer, Schiele, Harta & Co: Painting Unites Us” (July to Oct 2019, Salzburg Museum). This important exhibit received national attention in Austria and focused on five connecting themes between these three notable artists. (76) Moreover, Harta’s contribution and impact on the development of modern art to Austria is brought into a clearer light.
(1) Edith K. Baumgartner. Felix Albrecht Harta(1884-1967), Phil. Diss Univ. Salzburg, 1991, pg. 4-5. (henceforth referred to as footnote #1). Baumgartner speculates that the boys changed their surnames because they did not want to be associated with their father’s wealth, preferring to make it on their own. Another theory, is that they wanted surnames that were not Jewish. It also is a time when sons and daughters rebelled against their parents. This question was discussed with several curators, and perhaps it’s a combination of reasons.
(2) Personal Records from the estate of F.A. Harta, Archive of the Salzburg Festival.
(3) These two watercolors are unknown. See Footnote #1, pg. 9, ff. 13.
(4) Arnold Hatschek(1865 – 1931) was a Viennese Architect in District 9.
(5) See Note #1, Vol. 1, pg. 10.
(6) Hans Von Hayek (1869 -1940) founded a private art school for landscape and animal painting in Dachau, near Munich with the course dedicated almost exclusively to plein air painting (painting outdoors).
(7) Hugo Freiherr von Habermann (1849 – 1929) was President of the Munich Secession, from 1892 to 1904, then taught from 1905 to 1924 at the Munich Academy. Harta in his journal wrote:” Habermann was typically Austrian, lovable and elegant.”
(8) All three painters remained life-long friends, and would continue to noted careers; Harta vacationed with Hans Eder, and his wife during the 1930s, and painted oil portraits of the Eder family and of Eder’s wife, Ida. [ See Section Oil Paintings 1921-1939 in the website].
(9) In her dissertation on Harta, Baumgartner wrote that Harta exhibited 5 Landscapes. The Catalog(See Exhibition Gallery) shows that four paintings were shown, and that based on their titles may not have been entirely landscapes. These are not listed in his Work Catalog and are presumed lost.
(10) Spanish Trip. Essay from the Estate Papers of F.A. Harta, Archive of the Salzburg Festival.
(11) https://digi.ub. uni-heidelberg.de/diglit/studio1911b/0079. Pg 59.
(12) Kerstin Jesse. “another group more” Academy revolution 1909: group dynamics, networks, and artist associations around Egon Schiele” in” Faistauer, Schiele, Harta & Co. Malerei Verbindet. Salzburg Musuem 2019, pg. 92.
(13) In Eva Harta’s papers there is a timeline document listing that in 1909 Harta became a charter member of the Neukunstgruppe. Baumgartner, and other historians’ credit Harta as a member, however, the catalog of the three and only exhibitions at the Café Pisko does not show that he exhibited. See Tobias G. Natter & T. Trummer in: Die Tafelrunde: Egon Schiele und Sein Kreis, Dumont, 2006, pg 94-97. Since member lists, if any are still unknown, its possible he was a member (See Footnote #12, pg. 92). Harta was a member of Schiele’s new union, The Neue Secession (New Vienna Secession) that prominently exhibited at the 49th exhibition of the Vienna Secession.
(14) See Footnote # 1, pg 5. See also Tobias G. Natter in Oskar Kokoschka Early Portraits from Vienna and Berlin 1909-1914, Neue Galerie New York, Yale Univ. Press, 2002, pg. 98-99.
(15) Footnote, #1, Appendix (Nachtrag) #4, pg. 269.
(16) See Footnote, #1, pg 70.
(17) Sandra Tretter, P. Weinhaupl, Felizitas Schreier, Georg Becker (Ed.) in: Gustav Klimt Atelier Feldmuhlgasse 1911-1918, Gustav Klimt Foundation, Vienna, 2014, pg. 71.
(18) See Footnote #12, pg. 98.
(19) Catalog of the 38th Vienna Secession shows that Harta exhibited ten oil paintings. Eight can be viewed on the website (OL, 20, OL21, OL22, OL24, OL25, OL26, OL29, and OL32.)
(20) See Footnote, #1, pg. 70-71.
(21) Emilio Filipo Tommason Marinetti (1876 -1944) is an Italian writer, founder and Principal representative of Futurism. Umberto Boccioni (1898 -1902) is an Italian painter and Sculptor who was acquainted with French impressionists’ Severini (1883 -1966) is an Italian painter, draftsman, and sculptor, who joins Picasso in Paris. Maurice Utrillo (1883 – 1955); French painter and Lithographer, and the son of Suzanne Valadon. Suzanne Valadon (1865 – 1938) is a French painter and artist’s model, and became the first woman painter admitted to the Societe Nationale des Beaux-Arts; she also is the mother of the painter, Maurice Utrillo. Rainer Maria Rilke is a world renowned Bohemian Austrian poet and novelist. Rilke was commissioned by a German publisher to write a book about Rodin, and lived in Paris for twelve years. Also see Footnote #1, pg. 26-28.
(22) See Footnote, #1, pp. 71-72.
(23) Paris von Gutersloh: Essay(excerpts): Background for F.A. Harta’s depictions of Montparnasse in Paris. In: Exhibition Catalog of the International Black and White Exhibition in Vienna, Nov, 1913, pp.10-18.
(24) Personal Records from the Estate of F.A. Harta in Archives of the Salzburg Festival. Harta also modeled for two of Schiele’s more provocative gouaches, Reclining Male and Female Nude Entwined, Kallir D1453, and Bearded Man, Kallir D1413, both drawn in 1913. While D1453 clearly established that Harta was the male model, D1453 is not that well known, but Jane Kallir, an established expert on Schiele believes that the model is Harta(Private correspondence to L. Heller).
(25) EvaJandl-Jorg. “Nachmittag Schieles bei uns[…]” Im Umfeld von Faistauer, Schiele, Harta & Co in: Faistauer, Schiele, Harta & Co Malerei Verbindet, Salzburg Musuem, 2019, pg. 45.
(26) Alessandra Comini in: Egon Schiele’s Portraits. Univ of California Press, 1974, pg. 151-152.
(27) Catalog of the Vienna Art Show in the Berlin Secession, Kurfurstendam 232, Jan-Feb 1916
(28) Personal Records from the Estate of F.A. Harta, Archive of the Salzburg Festival
(29) Correspondence in the Austria War Archives. See also Footnote #1, Attachment #2, Vol. II, pg 261.
(30) Heeresgeschichtliches Museum (Militärwissenschaftliches Institut): "Fliegen 90/71", Katalog zur Ausstellung, Band II: Fliegen im Ersten Weltkrieg, Gemälde und Zeichnungen. Wien 1971, S. 28 f.
(31) See Footnote #1, pg. 77. His seven oil paintings, and thirty-one graphics reside in the Museum of Army History in Vienna. The oils currently can be viewed on the website. The numerous graphic drawings and watercolors c can be viewed on the Heeresgeschichtliches Museum website: https://www.hgm.at/ausstellungen/onlinekatalog#/?searchQuery=&searchOffset=0&searchCollections=
(32) See Footnote #1, pg. 38. See also Timeline from the estate papers of Eva Harta.
(33) See Footnote #1, pg. 38-39
(34) Christa Svoboda in “The Salzburger Kunstverein (Based on Memoirs of F.A. Harta) in: Phil. Diss Salzburg, pg. 108ff. See also Footnote #1, pg. 33.
(35) Personal Records of the Estate of F.A. Harta, Archive of the Salzburg Festival.
(36) Eva Jandl-Jorg. “Der Wasserman” Ein europaisches Forum fur die lebendige Kunst” in: Faistauer, Schiele, Harta & Co. Malerei Verbindet, Salzburg Museum, 2019, pg. 62.
(37) Fritz Fuhrmann, Ed. Anton Faistauer: Letters to F.A. Harta, Salzburg Musuem, 1961. These 20 letters are especially important in understanding Salzburg’s modern art-historical development.
(38) See footnote #35, pg. 48/49. A letter dated Jan, 9th, 1919 confirms that the initiative to founding a new artistic association derives from Harta.
(39) Annual Report 1918/1919 Wasserman, pg. 8. See also footnote #1, pg. 136. During these correspondences, Faistauer is secluded in his hometown of Maishofen, and is not involved in the organizational work prior to the opening of the first exhibition. Moreover, he is not listed in the original charter of founders. However, according to an article presumably published in 1954, Harta writes that “when the project became a reality, he participated with all energy and conscientiousness” (See footnote #1, pg 272).
(40) See footnote #1, pg. 134.
(41) See footnote #1, pp. 140-141.
(42) See footnote, #34, pg 73
(43) See footnote, #34, pp. 73-75.
(44) Josef Kaut. “Again Wassermann-exhibition” in: Catalog of the Jubilee Exhibition “Der Wassermann”, July 15-18th at the Salzburg Artist Association to Celebrate the 125th Year of the Salzburg Artist Association (Kunstverein).
(45) See footnote, #34, pg. 76. Earlier biographies credit Harta as a founder of the Salzburg Festival. There is no evidence linking him to this, however there is a great deal of evidence that he participated in the same circles as the founders of the world-famous music festival, and likely provided spiritual support for the idea of a music festival in Salzburg.
(46) See footnote, #34, pg.76.
(47) See footnote, #1, pg. 145.
(48) See footnote #1, pp. 148-149.
(49) See footnote #1, pg. 149.
(50) See footnote, #1, pg. 150-51
(51) Personal Record from the estate records of Eva Harta. Hans Makart (1840 – 1884) was a 19th century Austrian painter, known to have influenced Gustav Klimt, and was quite celebrated as an important artist in Viennese Society. (Wikipedia).
(52) See footnote #1, pg. 145-148
(53) See footnote #34, pg. 79.
(54) Baptismal record entry XX. Pg. 13. No. 25 Parish of St. Andrae, Salzburg.
(55) See footnote, #1, pp. 86-87.
(56) See footnote #1, pg. 89
(57) See footnote #1, pg 52.
(58) See footnote #1, pg. 52.
(59) Agnes Husslein-Arco, M. Boeckel, et. al. (Ed.). Hagenbund A European Network of Modernism, Belvedere, Vienna, Hirmer Verlag. Munich, 2014, pg. 224.
(60) Harald Krejci. “Internal Dynamics and External Influences: The Hagenbund Artist Network in: Hagenbund A European Network of Modernism 1900 to 1938, 2014 Belvedere Vienna, Hirmer Verlag GmbH, Munich, Fig 9., pg. 23.
(61) Julie M. Johnson in The Memory Factory: The Forgotten Women Artists of Vienna 1900, Purdue University Press, 2012, pg. 391. See also footnote #1, pg. 49. Between 1912-13, Erika Abels d’ Albert had been a student as cited in Gabriele Koller and Gloria Withalm, Die Vertreibung des Geistigen aus Österreich: Zur Kulturpolitik des Nationalsozialismus, Zusammenstellung der Ausstellung von der Hochschule für angewandte Kunst in Wien, Jänner/Februar 1985, Vienna: Zentralsparkasse und Kommerzialbank, 1985, OCLC 467907964, pg. 175.
(62) Saval, Dagmar: “Gusti Wolf: erzahlt aus ihrem Leben”; Bohlau Verlag, Wien,2001, pg 19-21.
(63) See OL249 on the website.
(64) See footnote #59, pp. 252-253.
(65) Thomas Kampe. “Tanz als Uberlebenskunst in: Alles tanzt Kosmos Wiener Tanzmoderne, 2019 Theater Musuem, pg. 291.
(66) Personal Records from the estate of Eva Harta. CV of Felix Albrecht Harta.
(67) W, Schaup. “Between Salzburg and Cambridge: A Returning Austrian Tells the Story” in” Salzburger Volkszeitung v. June 17, 1950. This camp that many never heard of was referred to as the “Hell on Huyton”. See https://www.liverpoolecho.co.uk/news/liverpool-news/merseysides-wartime-prison-camp-youve-9498601 for more information on the camp’s conditions.
(68) See footnote #1, pg. 214.
(69) Personal Records from the Estate of F.A Harta, Archives of the Salzburg Festival. See also illustrations in the exhibition gallery of the website.
(70) L Heller: A search of lists of individuals employed in established academic positions up to 2000(online at http://venn.lib,cam.ac.uk/Documents/acad/lists/index.html) has not located Harta. Moreover, the University introduced a Fine Arts course only in 1961. He may have been employed in a part-time or temporary capacity, or merely tutored individuals, but it’s evident that he was not a full-time faculty member. Interestingly, the article in the Salzburger Volksblatt that Baumgartner cited as a reference (see footnote 61) makes no mention of Harta teaching or tutoring, nor is it clear from his memoirs in what capacity he taught.
(71) See footnote #1, pg.104.
(72) See footnote #1, pp. 105-107.
(73) See the website section: Oils: 1950-1966.
(74) Harta’s catalog raisonne, (Baumgartner Diss, Vol. II, pg. 53) and a letter from Eisenhower to Claude Harta, dated Oct, 1, 1956(Archives of the Salzburg Festival) confirm that he painted the President’s portrait. The whereabouts of the painting are unknown.
(75) Personal Records from the Estate of F.A. Harta, Archives of the Salzberg Festival.