Figural archetypes: the works of the modernists Herbert Boeckl and Hans Josephsohn in dialogue

The Leopold Museum in Vienna has opened an exhibition titled Herbert Boeckl, Hans Josephsohn. Figural Archetypes, which presents a dialogue between the works of two prominent figures of modernism. The exhibition, launched on July 24, will remain open until January 10, 2027. It features approximately 80 artworks, bringing together the creations of Austrian painter Herbert Boeckl (1894–1966) and Swiss sculptor Hans Josephsohn (1920–2012). This marks the first time their works have been displayed side by side, highlighting shared themes and approaches despite the artists never meeting personally. The exhibition explores how both artists approached the human form as a vessel for artistic expression. Both relied heavily on personal environments and specific models during their creative processes. For Boeckl, his wife Maria was a central muse, frequently posing for him. Josephsohn similarly preferred using individuals from his immediate surroundings, including his first wife Mirjam Abeles, partner Ruth Jacob, second wife Verena Wunderlin, and even occasional acquaintances such as employee Ernst Baumann. Their choice of subjects reflects a deep engagement with the tangible and the familiar. Both artists left visible traces of their creative process in their work. In Boeckl’s paintings, this manifests through expressive brushstrokes and layered applications of color. Josephsohn’s sculptures reveal the physical act of modeling, his use of clay, which he would apply and remove manually, leaving behind distinct textures that were transferred into the final castings. These visible processes underscore their commitment to making the act of creation itself a part of the artwork. Despite being active during a period when abstract art gained prominence, neither artist followed prevailing trends. Boeckl remained embedded within the artistic networks of his time, while Josephsohn chose a more solitary path. Today, Josephsohn is regarded as one of the most significant Swiss sculptors after Albert Giacometti. Both artists remained steadfast in their dedication to figurative art, particularly focusing on the human figure as a carrier of artistic meaning. Their depictions of the human body often eschewed anatomical detail, instead seeking to distill essence through radical simplification and condensation. As a result, their figures appear stylized yet universally recognizable. Despite, or perhaps because of, the reduction, they possess considerable expressive power. This approach allowed them to transcend literal representation, offering viewers a deeper emotional resonance. A shared interest in materiality further connects the two artists. Boeckl applied paint in thick, almost sculptural layers, creating a textured surface. Josephsohn, on the other hand, used clay to add material depth to his forms. This attention to the physical properties of their mediums reinforced the tactile and sensory aspects of their work. The exhibition aims to illuminate these parallels and contrasts, providing visitors with new perspectives on both artists' contributions to modernist figurative art. By placing their works in direct conversation, the museum seeks to highlight the enduring relevance of their focus on the human figure and the processes of creation. The exhibition continues through early 2027, inviting ongoing reflection on the legacy of Boeckl and Josephsohn.