Oskar Laske stands as a significant yet sometimes overlooked figure in the vibrant tapestry of early 20th-century Viennese art. Born on January 8, 1874, in Chernivtsi (Czernowitz), then part of the Austro-Hungarian Empire and now in Ukraine, Laske later became an Austrian citizen and spent most of his prolific career in Vienna, the imperial capital. He passed away there on March 23, 1951, leaving behind a rich and diverse body of work. Laske was not confined to a single medium; he excelled as an architect, painter, printmaker, graphic artist, and even stage designer, demonstrating a remarkable versatility that characterized his long and productive life. His art navigated the currents of Jugendstil, Impressionism, Expressionism, and a unique narrative style often infused with humor and keen observation.
Early Life and Architectural Foundations
Laske's artistic journey began not in the grand academies initially, but with private instruction. While still a youth in Vienna, he took painting lessons from the landscape painter Anton Hlavacek. This early exposure to landscape art would remain a recurring theme throughout his career. However, his formal education steered him towards a different, though related, discipline: architecture. From 1892 to 1898, Laske studied architecture at the prestigious Technische Hochschule (Vienna University of Technology).
His architectural training culminated under the guidance of one of the most influential figures in Viennese modernism, Otto Wagner. Laske became a student at Wagner's specialized school within the Academy of Fine Arts Vienna. This mentorship was pivotal, immersing Laske in the progressive architectural ideas of the time, particularly the burgeoning Jugendstil (Art Nouveau) movement. His most famous architectural achievement, designed during his early career, is the Apotheke zum weißen Engel (White Angel Pharmacy) in Vienna. This building, still standing today, is a testament to his architectural skill and a fine example of the Jugendstil aesthetic, blending functionality with ornate, nature-inspired decoration.
The Transition to Painting and Printmaking
Despite his promising start and clear talent in architecture, Laske's passion increasingly gravitated towards the pictorial arts. Around 1904, he began to dedicate himself more fully to painting and printmaking. While he had received foundational training from Hlavacek and was undoubtedly influenced by the visual sensibilities honed during his architectural studies under Wagner, Laske was largely considered self-taught as a painter. This independent spirit allowed him to develop a highly personal style.
His transition coincided with a period of intense artistic ferment in Vienna. Laske did not remain isolated but actively engaged with the city's avant-garde movements. He sought out like-minded artists and platforms where modern art was being debated and exhibited. This move away from the structural demands of architecture towards the expressive freedom of painting and graphics marked the beginning of the most prolific phase of his artistic output, where his unique voice truly began to emerge.
Vienna's Artistic Circles: Secession and Hagenbund
Laske became an active participant in Vienna's progressive art scene. He was a member of two crucial artist associations: the Hagenbund, which he joined in 1907, and the renowned Vienna Secession, which he became a member of later, in 1928. Both organizations were vital platforms for artists seeking alternatives to the conservative academic establishment. The Hagenbund, often seen as more moderate than the Secession initially, provided exhibition opportunities for artists exploring various modern styles.
The Vienna Secession, famously co-founded by artists like Gustav Klimt, was at the forefront of introducing modern European art movements to Vienna and fostering a distinctly Austrian modernism. While Laske joined later, his affiliation placed him within the legacy of this groundbreaking group, which also included luminaries like Egon Schiele and architects such as Josef Hoffmann and Koloman Moser, key figures of the Wiener Werkstätte. Laske's participation in these groups ensured his work was seen alongside that of his leading contemporaries. He also maintained friendships, such as with the painter Karl Stemmler, originally from Chernivtsi like Laske, with whom he exhibited regularly at Hagenbund, Secession, and Künstlerhaus shows.
Narrative, Humor, and Influences
A defining characteristic of Laske's art, particularly his paintings and prints, is its strong narrative quality, often laced with humor, wit, and sometimes biting satire. He was a storyteller in visual form, drawing inspiration from a wide array of sources including biblical parables, historical events, mythology, literature, and the minutiae of everyday life. His works often teem with figures and activity, inviting viewers to decipher the unfolding scenes.
Art historically, Laske looked back to earlier masters known for their detailed observations of life and humanity. He held a particular admiration for the Flemish Renaissance master Pieter Bruegel the Elder, whose influence can be seen in Laske's bustling, populated scenes and his focus on peasant life or allegorical narratives. Another significant influence was the Belgian symbolist James Ensor, known for his use of masks, grotesque figures, and carnivalesque imagery, elements that resonate with Laske's own penchant for the theatrical and the satirical. These influences were synthesized into a style that was uniquely Laske's own, blending traditional techniques with a modern, often playful or critical, sensibility.
A World Observed: Landscapes and Cityscapes
Parallel to his narrative works, Laske remained deeply engaged with landscape and cityscape painting throughout his career. His early training with Anton Hlavacek provided a solid foundation in landscape depiction. He frequently painted scenes from the Austrian countryside, particularly the picturesque Salzkammergut lake district, capturing its tranquil beauty with vibrant colors and an atmospheric touch that owed something to Impressionism but was filtered through his personal style.
His extensive travels also provided rich subject matter. Laske journeyed throughout Europe and ventured into North Africa and the Middle East. These experiences abroad infused his work with exotic motifs, different light conditions, and diverse architectural settings. Whether depicting a bustling Viennese market, a quiet Austrian lake, or a vibrant scene from his travels, Laske approached his subjects with an eye for detail and a desire to convey the specific character and mood of the place, often populating his scenes with small figures that add life and narrative hints even to his landscapes.
Witness to Conflict: The War Artist
The outbreak of World War I profoundly impacted Laske's life and art. He served as an official war painter (Kriegsmaler) for the Austro-Hungarian army from 1914 to 1918. Stationed on various fronts, including Galicia, the Isonzo front in Italy, and the Dolomites in the Alps, Laske documented the conflict firsthand. His wartime works, primarily watercolors and drawings, depict troop movements, battle scenes, military encampments, and the devastating impact of war on both soldiers and landscapes.
Unlike purely propagandistic art, Laske's war paintings often convey the grim realities and human drama of the conflict. While fulfilling his duty to record events, his works also possess an artistic depth, capturing the tension, exhaustion, and sometimes absurdity of war. These pieces form an important part of his oeuvre, offering a unique perspective on the Great War through the eyes of a trained artist grappling with unprecedented historical events. They serve as both historical documents and poignant reflections on the human condition under duress.
Master of the Print: Etchings and Graphics
Oskar Laske was a highly accomplished printmaker, mastering various techniques, particularly etching. His graphic works are characterized by meticulous detail, technical finesse, and the same narrative richness found in his paintings. He produced numerous etchings, lithographs, and book illustrations, often exploring themes similar to those in his paintings – biblical stories, allegories, scenes of daily life, and travel impressions.
His prints allowed for intricate linework and tonal variations, which he exploited to create complex and engaging compositions. One of his most celebrated graphic works is the series related to "Noah's Ark." This theme appeared in multiple versions across different media, including oil paintings and watercolors, but his etchings on the subject are particularly noteworthy for their imaginative detail and dynamic composition, showcasing his ability to handle large numbers of figures and animals within a coherent and compelling narrative framework. His printmaking activities contributed significantly to his reputation, with a catalogue of his graphic work published as early as 1921.
Key Works and Artistic Evolution
Beyond his early architectural success with the Apotheke zum weißen Engel, several paintings and prints stand out as representative of Laske's mature style. Noah's Ark, in its various iterations, exemplifies his fascination with biblical themes, his skill in depicting crowded scenes, and his touch of fantasy. The works often show a bustling, almost chaotic loading of the ark, emphasizing the scale and drama of the event with Laske's characteristic narrative flair.
Another significant piece, particularly from his later period, is Das Narrenschiff (The Ship of Fools), created around 1924-26 and revisited later. This work taps into a long artistic and literary tradition, using the metaphor of a ship populated by fools adrift at sea to comment on human folly, societal ills, or the uncertain journey of life. It showcases his ability to blend allegory with detailed observation and a slightly melancholic or critical tone. Works like Giraffe Lady highlight his humorous side, depicting whimsical scenes drawn from everyday life or imagination, often employing expressive, slightly caricatured figures. Throughout his career, while his core interests remained consistent, his technique evolved, particularly in his later years when he produced many refined watercolors and detailed etchings.
Wider Connections and Collaborations
Laske's engagement with the art world extended beyond his memberships in the Secession and Hagenbund. While direct collaborations might be less documented than his mentorship under Wagner, his work appeared alongside that of other leading modernists. For instance, his work, like that of Expressionists such as Oskar Kokoschka and the German artist Franz Marc (a key figure of the Blue Rider group), was featured in influential avant-garde publications like Herwarth Walden's Berlin-based journal Der Sturm, indicating his relevance within the broader Central European modernist network, even if direct personal interaction with figures like Marc or Kokoschka was limited.
His versatility also led him into stage design, where he created sets and decorations for figures like Otto Lethner, demonstrating his ability to apply his artistic vision to theatrical contexts. His personal life also intersected with the Viennese cultural scene; during World War I, he reportedly married Auguste Klein, the sister of the pianist Emil Klein, connecting him further within the city's artistic and musical circles. These varied connections underscore Laske's active presence in the cultural life of his time.
Legacy and Enduring Influence
Oskar Laske left a significant legacy as one of Austria's most versatile early 20th-century artists. His ability to move fluidly between architecture, painting, and printmaking, while maintaining a distinct personal style characterized by narrative depth and humor, sets him apart. His architectural contribution, the Apotheke zum weißen Engel, remains a landmark of Viennese Jugendstil. His paintings and prints are held in major Austrian collections, including the Belvedere and the Albertina in Vienna, and have been featured in numerous exhibitions.
His international reputation grew throughout his life, culminating in his first solo retrospective in the United States in 1950, a year before his death. Laske's work, particularly his graphic output and narrative paintings, is seen as having influenced subsequent generations of Austrian artists. His unique blend of traditional draftsmanship, modern sensibilities, and storytelling continues to attract interest. The enduring recognition of his contributions is marked by commemorative gestures, such as streets named after him in Vienna (Laskegasse) and Nuremberg, and by continued scholarly attention and public exhibitions, like the comprehensive show at Kunsthaus Wien in 2015 featuring over 150 of his works. Oskar Laske remains a fascinating figure, an artist who chronicled his world with skill, imagination, and a distinctive, often witty, perspective.
