Viktor LEDERER
1935, Austria

Viktor Lederer was born in 1935 in Vienna.
He studied at the Academy of Fine Arts in Vienna in the master's class for painting under Professor Franz Elsner.
Member of the Vienna Künstlerhaus (House of Artists Museum).
Award of the City of Vienna.
Pictures in the possession of public and private art collections, including the Dr. Rudolf Leopold Collection, the art collection of the
Austrian Museum of Folklore, and the Eurotax Corporation Collection, Switzerland.
In the early 1960s, pictures by Viktor Lederer in an exhibition in the Vienna Künstlerhaus drew the attention of art critics for the first
time. Public art collections and private buyers also became interested in the then 25 year old. Viktor Lederer rented his own studio for
the first time (1960 - 1965) in Vienna, Lichtenthal.
Following participation in numerous exhibitions (Secession, Vienna Künstlerhaus ...) in the 1960s and 70s he held a personal exhibit
in Kittsee Palace.
In 1987 he received an invitation from the provincial government of the state of Burgenland to participate in the first representative
exhibit in more than 50 years in Esterhazy Palace. Exhibitions in several well-known galleries followed, including for example: the
Austria Gallery, Vienna; the Lehner Gallery, Linz; Old Town Gallery Hall, Tirol; 1990 Gallery, Eisenstadt.
Publications from Exhibitions by Viktor Lederer with text by Brigitte Marschall:
"In the Slipstream of Time", 1994
"In the Twilight of Remembrance", 1995
"In the Colored Light of Shadow", 1995
"Burgenland Village Landscapes", 1996
"Colored Space of Landscapes and the Body", 1996
"Landscape World turned into Space", 1997
"Colored Pieces of Landscape", 1997
"In the Landscape Light of the Senses", 1998
"Weather Landscapes in the Colored Light of Matter", 1999
Monograph "Viktor Lederer. People - Landscapes "Color Tones", Published by Plöchl, Freistadt 2000
The paintings of Viktor Lederer encompass a time frame of more than forty years. His works from approximately 1960 to 1990 are
based in classical modernity, and the influence of the generations from both before and after World War II are apparent. There are
noticeable parallels to Boeckl and Dobrowsky, and to Werner Berg and Anton Peschka. Lederer has shown a progressing vitality of
artistic development since the beginning of the 1990s, as in an imaginary museum. It is no longer imperative to evoke reminders of
forerunners or contemporaries, and this is sometimes virtually impossible.
In his early works there is still a clear, spiritual relationship to Fauvism and Expressionism. They also show academic perfection both
physically and technically in individual phases. The last creative period includes the eruptive and gestural, the tectonic and the
rhythmic. The structural and the spontaneous eventually lead to a reduction to the essential, but also to a higher degree to
abstraction, without crossing the boundary into the nonobjective. Lederer no longer portrays real meaning, but rather he places the
visual reality with the inclusion of his experiences viewed in a mature other world, and compares it to his own truth as an artistic
arrangement.

Source: http://www.galerielehner.at/data/artistPdf/Viktor_Lederer_en.pdf