WILHELM TRAEGER (Vienna 1907 - 1980 Ried im Innkreis), Artists of the Viennese Prater, 1932

WILHELM TRAEGER*
(Vienna 1907 - 1980 Ried im Innkreis)
Artists of the Viennese Prater, 1932
woodcut/paper, 35,5 x 44,8 cm
signed W. Traeger, inscribed and numbered Praterartisten, Handdruck 2/25
Provenance: Dorotheum Vienna, Fine Arts Widder

ESTIMATE °€ 400 - 800
START € 400

Austrian painter and graphic artist of the 20th century. Representative of the New Objectivity. Studied from 1925 to 1933 at the Academy of Fine Arts with Hans Tichy, Wilhelm Dachauer, Josef Jungwirth and from 1929 with Rudolf Bacher. Taught mathematics and descriptive geometry in Vienna and Upper Austria from 1930. Member of the Vienna Secession, the Künstlerhaus, the Upper Austrian Art Association and the Innviertler Künstlergilde. From 1936 resident in Ried im Innkreis, together with Max Bauböck, Walther Gabler and Engelbert Daringer from 1945 involved in the Innviertler Künstlergilde. He deals with socially critical themes, especially graphics and drawings about life in the big city, the everyday life of ordinary people, the misery of the poor, the contrast between rich and poor, the shady protagonists of Viennese nightlife and the amusements in the Prater and the circus.

Wilhelm Traeger studied from 1925 to 1933 at the Academy of Fine Arts with Hans Tichy, Wilhelm Dachauer, Josef Jungwirth and from 1929 in the master class of Rudolf Bacher. At the same time he passed the teacher training examination for mathematics and descriptive geometry and taught from 1930 in Vienna and later in Upper Austria. Traeger was a member of the Vienna Secession, the Künstlerhaus, the Upper Austrian Art Association and the Innviertel Artists' Guild. From 1936, Traeger lived in Ried im Innkreis, where after 1945, together with Max Bauböck, Walther Gabler and Engelbert Daringer, he tried to reorganize the Innviertler artists' guild. Between 1970 and 1974 he was President of the Upper Austrian Art Association. After the First World War, Traeger spent several summer months in a Danish foster family, who also financed his education. Familiar with famine and social ills from this period, he repeatedly devoted his work to socially critical themes.

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