Deutsch
Feigl-Zellner, Margarete Johanna
Felgel von Farnholz, Oskar
Fellin, Benedetto
Fieglhuber-Gutscher, Marianne
Fischer, Johannes
Fleischmann, Trude
Floch, Josef
Frey, Max
Freyer, Pierre
Frieberger-Brunner, Marie Vera
Fried, Theodor
Friedländer, Friedrich
Friedrich, Ernst
Frohner, Adolf
Fränkel, Karl
Fuchs, Ernst
Fuhrken, Fritz
Funke, Helene
Földes, Imre
Gaertner, Eduard
Gassler, Josef
Geiger, Willi
Geiseler, Hermann
Gergely, Tibor
Gerliczy, Emil von
Gerstenbrand, Alfred
Gerster, Otto Helmut
Giessen, Jan Theodorus
Glück, Anselm
Gratama, Lina
Grewenig, Fritz
Grom-Rottmayer, Hermann
Grossmann, Karl
Grossmann, Rudolf
Grosz, George
Grünseis-Frank, Erna
Gröger, Kurt
Gunsam, Karl Josef
Gurschner, Herbert
Gütersloh, Albert Paris
Hacker, Maria
Hafner, Rudolf
Hagel, Alfred
Hammerstiel, Robert
Hanak, Anton
Harsch, Andreas
Harta, Felix Albrecht
Hassmann, Carl Ludwig
Hauk, Karl
Hauptmann, Josef
Hauser, Carry
Hausner, Rudolf
Heidel, Alois
Helnwein, Gottfried
Herbert Bayer, zugeschrieben
Hertlein, Willi
Hess, Bruno
Hessing, Gustav
Heu, Josef
Heuberger, Helmut
Heubner, Friedrich Leonhard
Hilker, Reinhard
Hiller-Foell, Maria
Hlawa, Stephan
Hoffmann, Josef
Hofmann, Egon
Hofmann, Otto
Hohlt, Otto
Hoke, Giselbert
Hollenstein, Stephanie
Hrdlicka, Alfred
Huber, Ernst
Hutter, Wolfgang
Hänisch, Alois
Höllwarth, Ines
Hölzer-Weineck, Irene
Jaeger, Frederick
Jaenisch, Hans
Jaindl, Othmar
Janda, Hermine von
Janesch, Albert
Jansen, Willem
Janssen, Horst
Jaruska, Wilhelm
Jean Cocteau, zugeschrieben
Eduard Thöny (until 1895, also Thöni) was the son of a woodcarver and sculptor. Franz von Defregger advised the family to move to Munich. Eduard Thöny grew up here, shaped by the artistic atmosphere in his parents' house. From 1883 to 1892, he studied at the Munich Art Academy, under Gabriel von Hackl, Ludwig von Löfftz and Defregger, interrupted by study visits and travel. He spent the summer semester of 1890 in Paris. There he studied the art of Edouard Detailles and kept in touch with the circle of the Académie Julien through his compatriot and fellow student Leo Putz. Thöny worked in Munich on Louis Braun's battle paintings and provided humorous and photojournalistic contributions for the "Münchner Humoristische Blatter", a weekly supplement of the "Neues Münchner Tagblatt". In 1891/92, he accompanied Buffalo Bill on a European tour. In 1896, Thöny began drawing for the satirical weekly “Simplicissimus”, founded by Albert Langen. Social and military caricature became his speciality. A photographic view is characteristic of his graphic work – preferably in ink and opaque white, often reworked with charcoal or pencil – which is nonetheless translated into the characteristic style of a handwriting that is as spirited as it is accurate. In painting, the preferred depiction of hunting and equestrian sports shows an aesthetic late impressionism Thöny illustrated numerous books and designed book covers, especially for Albert Langen Verlag, e.g. for Frank Wedekind, Guy de Maupassant, Marcel Prévost, Karl Bleibtreu, Theodore Roosevelt. His most popular series of images were the illustrations for Ludwig Thomas Filser letters, "Correspondence of a Member of the Bavarian State Diet", which had been published in Simplicissimus since 1907. Thöny travelled a lot, often in the company of Simpl colleagues. He was a mountaineer, tennis player, cycle polo player and ski pioneer. In April 1904, he cycled through southern France, accompanied by Ludwig Thoma and Rudolf Wilke. From Marseille, they crossed over to Algiers, visited the oasis of Biskra, Bougie, Constantine, and Tunis. From there, they travelled by ship to Naples, visited Pompeii and Paestum and met the assembled editors of Simplicissimus in Rome, who had travelled to meet them, Wilhelm Schulz and Wilke associates of Simplicissimus. Caricatures and paintings by Thöny were shown at Bruno and Paul Cassirer in Berlin from 1899 and at the Brakl and Heinemann galleries in Munich from 1906. Copley Hall in Boston/Mass. showed his work in 1909 in their "Exhibition of Contemporary German Art". In 1908, Thöny acquired a lakeside property in Holzhausen am Ammersee. He had the existing gardener's house converted according to plans by Bruno Paul. In Holzhausen, he associated with the artists of the Scholle circle, the Munich artist avant-garde of Art Nouveau: Adolf Eröer, Walter Georgi, Mathias Gasteiger, Anna Sophie Gasteiger and Olaf Gulbransson. In 1914, Thöny became a member of the k.u.k. War Press Quarters; for the duration of the war, he acted as as a war painter. His realistic pictures of the front, often executed in charcoal and pencil, reported on theaters of war, advances and the transport of the wounded and shaped the appearance of Simplicissimus during the war years. In 1915, Thöny married Rosa Vierthaler, a niece of the Munich sculptors Johann and Ludwig Vierthaler, who was 25 years his junior. The experiences of World War I and the fall of the monarchy in Germany meant that Thöny lost his caricature world of images. He was now increasingly responsible for Bavarian issues. In addition to the weekly contribution to Simplicissimus, which had become routine, he increasingly occupied himself with painting again. His preferred subjects were hunting and equestrian sport pictures in the late impressionist style. Mediated by the architect Paul Ludwig Troost, paintings in this style have been created since 1922 for the lounges of North German Lloyd passenger ships. In 1928, his graphic work was honoured in a first solo exhibition in the Staatliche Graphische Sammlung Munich. He was a member of the Munich Secession. The Bavarian Ministry of Culture rejected Thöny's appointment as professor at the art academy - although the academy's appeals committee had repeatedly suggested it since 1926 - always with regard to his "seditious" caricature work.
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