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History of the Museum

Originally the rescue of the villa was to be a joint project with the artists Friedensreich Hundertwasser and Arnulf Rainer, a plan which was never put into action. Sometime before Ernst Fuchs discovered the grand old villa, house and garden were made the scene of Heimito von Doderer's last work, the "Romanfragment No. 7. Der Grenzwald". "Across the road to the right and on the slope was a house, indeed a palace, of a kind seldom found. The flat roof atop tall and mighty pillars cast transitory shadows. To the left and right projected the wings of the house, whose walls at first sight seem to consist of coloured glass separated by narrow posts".
Much of the villa was restored in the style of Otto Wagner, the rest after designs by Ernst Fuchs. The villa, which served as Fuchs' atelier for a long time, is no longer lived in. The master moved to southern France after the villa was opened up in 1988 to house the Fuchs collection and to celebrate the villa's 100th anniversary.
In his lavish catalogue of Fuchs' work, Marcel Brion attempts to grasp the "visionary who sees beyond", the "chronicler of Unknown worlds", and to reveal something of the mysticism of Fuchs' artistic world to its audience.
"Not any ancient or modern mysticism but a mysticism of Fuchs" making in which everything plays a special role. Neither born of religion, nor the clever reworking of an academic painter, but rather a mysticism without precedent marrying other mystic stands together; a melting pot of belief and intuition, superstition and liturgy, vision and nightmare, the barely perceptible and the prophetic. A world of its own (a true world?).

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