(Stribach near Lienz 1868–1926 St. Justina near Bolzano)
Head of the first farmer from the painting “Totentanz”, signed Egger-Lienz, on the reverse inscription: “Aus Totentanz 1809”, pencil, water colour, with opaque white on paper on cardboard, 29 x 35 cm, framed

See:
Wilfried Kirschl, Albin Egger-Lienz, Das Gesamtwerk, vol. I, Christian Brandstätter Verlag, 1996, p. 120–131 (amongst others about the version and variants of “Totentanz” 1906–1921)

Compare:
Vol. II, M 223/1 and Z 476

Provenance:
Private Collection, Lower Austria

The even reddish-brown colour in the paintings “Totentanz”, “[Sämann und] Teufel”, “Haspinger” is, apart from the fact that I might like this colour, carefully calculated, as it promotes in its harsh, hard, rusty character the monumental effect, the big impression (especially in the “Totentanz” and “Haspinger”) of the war.
The technique contributes a lot to the impression my pictures give, as well as the concept from which it can come. The watercolour technique (fresco, casein, how my large pictures are painted) requires a completely different, large-scale way of drawing, like composing (if you can call it that), than the oil technique.
Egger-Lienz in a letter to Heinrich Hammer dated 5.9.1909 – from volume I of the cited literature