Poster of the 1908 Vienna Künstlerhaus(Art House) Anniversary Exhibition.
Catalog shows the exhibition occurred on March 21, 1908 in Vienna.
Page 123 of the catalog shows Harta showing one painting numbered 255, presumably OL4 on the website, and WV7/1908 in Harta's work catalog.
In the summer of 1908, Harta exhibited 4 paintings at the Salon d' Automne in Paris.
Edith Baumgartner in her dissertation wrote that 5 landscapes were exhibited here. The catalog page shows 4. In English, the titles are "Nebula Day, "Study", "Effect in Blue", and Sun Effect". Based on the titles, some may not be landscapes per se. This is the first record of Harta formally exhibiting his paintings.
Catalog Cover for the 38th Exhibition of the Vienna Secession held from April-July 1911.
Harta participated by displaying ten oil paintings. The titles of the paintings are shown on the next two scans.
See Oil Section 1903-1920 to see some of the paintings.
See OL26, OL32, OL33 paintings that were exhibited here.#101 Die Grüne Schaukel image cannot be located.
The Triptych the Great Market in Bruges was shown in this exhibition. Only the middle portion of the overall painting was illustrated in the catalog. See OL25 on the website to see the entire work.
Catalog cover. This was the Spring exhibition of the Secession in Vienna.
The exhibition was held between March and July of 1912.
Harta showed two landscapes. See OL36 and OL37 in the website. Harta received favorable reviews for his Semmering landscapes(See EKB Diss, Vol. 1, pp. 68-69.)
The Catalog shows that Harta exhibited eight oil paintings. Nos in the entry books, 3, 4, 7, 25 and 28 are presumed lost.Source: Baumgartner, Diss, Vol. 1, pg 70.
#26 Volkszene in Brügge was illustrated in the catalog. Harta titled this painting "The dead dog in Bruges". Criticism honed in on the influence of Pieter Breughel in this and other scenes from Brüges.
In December of 1913, the Academic Association for Literature and Music along with Harta and Erwin Lang, and with the support of Berthold Löffler organized the International Black and White Exhibition in Vienna. This exhibition was praised as the most important since the two Kunstschau(Art show) events of 1908 and 1909.(EKB, Diss, Vol. 1, pg. 71).
The second page of the catalog lists the organizers. The first line translates: "The jury consists of the gentlemen", and lists Harta, Bernhard Jirku, Erwin Lang and Berthold Löffler as members of the jury. Next are the members of the working committee.
The painter, Paris von Gütersloh wrote an extensive essay within the catalog(pp. 10-18) entitled: "Background for F.A. Harta's depictions of Montparnasse in Paris". This essay analyzes Harta's drawing: "Scene from Montparnasse" as well as the "L Accident. Hartas graphics received very favorable reviews(E.K.B., Diss Vol. 1, pg 75). This drawing is located in the first Graphics Section of the website.
This page of the catalog lists Harta's entries.Harta and Lang selected graphics from some of the most notable artists from Vienna, Germany, England, France, and Norway. The catalog shows names like Klimt, Kokoschka, Schiele, L. Corinth, M. Liebermann, E. Orlik, F. Brangwyn, M. Hardie, and Ernst Barlach. The Norwegian Munch also was represented(E.K.B., Diss Vol. 1, pg 72).
In January and February 1916, the Berlin Secession invited well-known Austrian artists, comprising the latest of the moderns including Kokoschka, Schiele, Faistauer, etc. Klimt showed his famous Portrait of Adele Bloch-Bauer here. Harta was well represented with 9 Oil paintings and 22 drawings. See OL62, OL63, OL67, & OL69.
As a war painter assigned to the War press Headquarters, Harta participated with the art group of the k.u.k.(Imperial and Royal) War Press quarter with Anton Faistauer, Oskar Kokoschka, and Egon Schiele at War Exhibitions in 1917 and 1918. Refer to the first graphics section to view Harta's drawings of East Galicia motifs.
This now famous poster by Egon Schiele titled "Die Tafelrunde"(The Round Table) shows the young Austrian Expressionists sitting around a table.Schiele sits at the head of the table, while Harta is seated third from Schiele's left. The empty seat at the head of the table represents Gustav Klimt who recently had passed. Most critics equate this with the Last Supper.