Copyright This work is in the public domain. Albin Egger-Lienz died in 1926; copyright lasts 70 years after the artist’s death, so it ended in 1996.
In context
The Reaper — Albin Egger-Lienz
Row above: the years. Row below: how old the artist was at the start and at the end of each span — 0 at birth, 58 at death.
Shaded: the lifetime of Albin Egger-Lienz (1868–1926) every dated painting, decade by decade
First works: up to 1893 Main working years: 1893–1925 Late works: from 1925
Those three bands split the works this catalogue has a date for into a first quarter, a middle half and a last quarter. They are not the artist’s complete output: a thin stretch may be a gap in the record rather than a quiet spell. The same years with the artist’s life laid along them
This record has no exact year on file — using the artist's lifetime and the work's style, what decade would you guess?
Pick one work above: name two things it shares with this one, and one thing that's different.
More works to set beside this one: originaluniqueart.com/en/art/similar/albin-egger-lienz-the-reaper-9DG3TL-en/
Measured from the image
Main colour
Phthalo Green #291e1f
Catalogued palette
These colours inside the artist’s whole palette Find other paintings by colour
The ten leading countries
Find the three darkest countries on the map. Is the museum that keeps this painting in any of them? Write down one reason people far away might look at it.
Together these works take 62.3% of all the attention this artist's paintings received over the last twelve months. The catalogue holds 185 works by this artist, of which 35 were looked at at least once. This painting has not been looked at yet in that time — it closes the list without a rank. The same counts, month by month
Bars measure attention, not quality. Pick the work at the top and this one: name one thing that might make a painting famous beyond how well it is painted.
Artist and museum
Born in Stribach, Austria
Born: January 29, 1868, in Dölsach-Stribach near Lienz, Tyrol, Austria.
Parentage: He was the natural son of Maria Trojer, a peasant girl, and Georg Egger, a church painter. He later adopted his father’s surname combined with his birthplace.
His initial artistic education came from his father, laying the foundation for his future career.
He continued his studies at the Academy in Munich, where he was profoundly influenced by artists like Franz Defregger and Jean-François Millet.
Egger-Lienz’s early works focused on scenes of peasant life and historical events, particularly the Tyrolean Rebellion of 1809.
Key Influence: The artist Ferdinand Hodler significantly impacted Egger-Lienz's style, leading to a monumental expressiveness characterized by heroic figures in stage-like spaces.
He joined the Vienna Secession in 1909, further solidifying his position within the Austrian art scene.
His artistic language evolved towards strongly outlined, massive forms painted with an almost monochromatic palette of earth colors.
Notable Paintings: Some of his most renowned works include “Der Totentanz von anno neun” (1906-1908), “Almlandschaft im Ötztal” (1911), and “Den Namenlosen” (1916).
He participated in the Universal Exhibition in Paris in 1900, receiving a bronze medal for his painting "Feldsegen."
During World War I, he served as a war painter on the southern Austrian front.
His later works often incorporated religious themes alongside scenes of peasant life, such as “Christ’s Resurrection.”
Unique Style: Egger-Lienz blended elements of Expressionism with traditional Austrian art, creating a distinctive style that set him apart from his contemporaries.
His work often explored themes of heroism, sacrifice, and the connection between humanity and nature.
He declined multiple professorships at prestigious academies, preferring to maintain artistic independence.
Lasting Impact: His paintings continue to be celebrated for their emotional power and monumental scale, representing a significant contribution to Austrian art history.
Egger-Lienz spent his final years painting frescoes for the Memorial Chapel of the Fallen in War in Lienz.
Death: He passed away on November 4, 1926, in St. Justina-Rentsch, Bozen/Bolzano, South Tyrol/Alto Adige, Italy, leaving behind a rich artistic legacy.
On show in Vienna, Austria
The Leopold Museum is located in Vienna, Austria. It was established as the Leopold Museum Private Foundation in 1994, following decades of systematic collecting by Rudolf and Elisabeth Leopold. The institution officially opened to the public on 22 September 2001. The collection represents a significant assembly of Austrian art from the first half of the 20th century, specifically covering the period between 1880 and 1960.
The foundation of the museum rests upon the private acquisitions made by the Leopold couple over fifty years. Their focus centered on the transition from the Wiener Secession and Art Nouveau to the development of Expressionism. This concentrated effort ensured that the core of the museum's holdings reflects the specific aesthetic shifts occurring within Austrian modernism during this era.
The museum's holdings include significant works that define the period, such as:
Death and Life, 1908 - Gustav Klimt
The Self-Seers II (Death and Man), 1911 - Egon Schiele
Dolomite Landscape, 1913 - Oskar Kokoschka
Located within the MuseumsQuartier in Vienna, Austria, the building is a five-story white limestone cube. Designed by architects Laurids and Manfred Ortner, the structure follows a contemporary and modernist aesthetic. Its geometric form provides a distinct presence within the urban fabric of the city.
The architectural design incorporates specific elements from the original stable building that once occupied the site. This integration of historical preservation and modern design is visible in the interior. Exposed brickwork and soaring ceilings are used to reference the grandeur of the imperial past. These features allow natural light to move through the spaces, creating an open environment for the collection.
The Leopold Museum houses the most extensive collection of Egon Schiele's work in existence. This assembly includes over 500 paintings and drawings, providing a basis to trace the evolution of his distinctive style. Through these works, the museum documents the development of Expressionism and its impact on the modern era. The collection contains more than 220 works that allow for a close study of his technical progression.
Schiele’s imagery often focuses on the human form, presenting figures that are frequently contorted and vulnerable. His approach to the body captures a specific psychological intensity. The breadth of the holdings allows for a direct examination of how his aesthetic shifted over time.
The Self-Seers II (Death and Man), 1911
Composition with Three Male Nudes, 1910
Nude Self-Portrait, 1910
Self-Portrait with Splayed Fingers, 1911
Kneeling Girl, Resting on Both Elbows, 1917
The collection features significant works by Gustav Klimt, including Death and Life (1908). These pieces exemplify the Secessionist movement through their specific use of ornamentation and symbolic language. The museum holds works by several pivotal figures in Austrian art history, providing a view of the transition from the Vienna Secession to Expressionism.
Beyond Klimt, the holdings include works by Oskar Kokoschka and Richard Gerstl. The museum also contains paintings by Anton Romako, such as Greillenstein Castle and Countess Kuefstein at the Easel. These artists represent the diverse stylistic shifts occurring within the first half of the 20th century.
Death and Life, 1908 - Gustav Klimt
Greillenstein Castle - Anton Romako
Countess Kuefstein at the Easel - Anton Romako
The history of the Leopold Museum is inextricably linked to the complex legacy of Nazi-looted art. The institution has faced numerous controversies regarding works seized during World War II. To address these historical wrongs, the museum has undertaken extensive legal battles and painstaking research to facilitate the repatriation of artworks to their rightful owners. This process requires a direct confrontation with uncomfortable truths regarding the provenance of certain pieces within the collection.
The museum’s commitment to restitution reflects an evolving awareness of the ethical obligations surrounding cultural heritage. This dedication to historical responsibility has led to several significant settlements. In 2011, a settlement was reached with the heirs of Moriz Eisler. Later, in 2016, the museum reached an agreement concerning five works by Egon Schiele with the heirs of Karl Maylaender. These actions demonstrate a willingness to engage with the difficult realities of art history through legal and ethical frameworks.
By addressing these past injustices, the museum transforms into a forum for dialogue and reflection. The work of rectifying historical wrongs is ongoing. It moves the institution beyond a simple display space, fostering a deeper understanding of the relationship between art, history, and morality.
The museum's programming facilitates a continuous dialogue between scholarship, the public, and the art itself. The permanent exhibition, titled “Vienna 1900,” occupies three levels of the building. This display comprises approximately 1300 exhibits that examine the intellectual and cultural shifts of the turn of the century. By placing these works in their historical context, the institution provides a framework for understanding the transition from the Wiener Secession to Expressionism.
Temporary exhibitions frequently address specific themes within Austrian modernism. Recent series, such as “MODERNISM NOW,” focus on foundational artists to demonstrate how their work continues to inform current artistic trends. These curated displays often bridge the gap between historical movements and contemporary practices. The museum maintains this relevance by actively engaging with modern artistic developments alongside its permanent holdings.
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For art students and researchers
The Reaper — Albin Egger-Lienz
Answer in your own words. There are no wrong answers here — only answers you can explain.
Write a short paragraph about this artwork. Use the facts from the earlier parts of this guide, and your answers above.
"The Reaper" by Albin Egger-Lienz shows a balanced color intensity.
The perceived brightness of "The Reaper" by Albin Egger-Lienz is deep_shadow. It can be matched to the light of the intended space.
"The Reaper" is defined by an earthy palette led by phthalo green (#291e1f).
The X-Ray page of "The Reaper" by Albin Egger-Lienz is an interactive viewer that lets you slide through eleven optical layers of the artwork's image, including an X-ray style view.
The dominant color of "The Reaper" by Albin Egger-Lienz is phthalo green (#291e1f).