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Natascha Eichinger

Stories from Natascha Eichinger

06 A painting by Derek Pigrum
Artist Derek Pigrum argues that everyone is creative, but that people often do not allow their surroundings to inspire them
01/12/2009

A monumental industrial table, covered in streaked dried up layers of paint and glue looking like a frenzied Jackson Pollack action painting, littered with brushes, pencils, and paper. This is the remaining debris of creative battles fought out that Wednesday in Derek Pigrum’s art room, the pungent intoxicating scents of oil paint and turpentine still lingering in the air.

09 Dorotheum Auction
Vienna auctions continue strong even as the crisis hits world markets
01/11/2009

Just one year ago, the art market was booming. Liquidity was flowing through the global economy, and the top echelons of society were flourishing. Auction houses were raking in money with record high sales. In May 2006 Picasso’s Dora Maar au Chat sold for $95.2 million followed by Klimt’s Adele Bloch-bauer II reaching $87.9 million at the November auction within that same year.

03 Vermeer
The fate of Nazi art still writes headlines; With the Vermeer, Austria may prevail.
01/10/2009

The Art of Painting by the world-renowned 17th century Dutch painter Johannes Vermeer hangs serenely, where it has hung for 63 years, in the grand Picture Galleries of the Kunsthistorisches Museum in Vienna. However it may not be there much longer, if the Austrian courts uphold a restitution claim of the family who had owned it for 130 years until they were forced to sell it to the Nazis to buy their freedom.

09 Der Notverkauf by Ferdinand Georg Waldmüller
Waldmüller’s hyperrealism of the not-so-cozy Biedermeier era; a retrospective at the Belvedere
01/07/2009

Ferdinand George Waldmüller was fascinated by light. His remarkable study Elm Trees in the Prater is a wild array of color captured on the bark and leaves radiating in the bright sunlight setting off shadows that outline the angular, contortions of the trees, a rush of life and energy. Waldmüller was breaking new ground in his time, moving away from the Dutch traditions of using light as a dramatic effect, and instead studied how light can transform color.

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