The Complete Works of Otto Beckmann

The creative periods

Otto Beckmann’s oeuvre as a whole is of such great variety that it is difficult to divide it into usual categories of art and into successive periods in time. Rather, there seem to be some interwoven underlying themes in the work, which, like melodies in a fugue, dominate for a time, then fade into the background, only to reappear in transposed form.

Oskar Beckmann in “Otto Beckmann, Zwischen Mystik und Kalkül”, Peter Peer, Peter Weibel (eds.)

Early Works – Kraków and First Years in Vienna

His artistic work began around 1937, initially with graphic works, which were then developed into his own techniques, such as cement cutting. With his work as a teacher at the Krakow Art Academy in 1941, elaborate metal techniques as well as the enamel technique were added. In addition to subjects with contemporary references, figurative depictions strongly reminiscent of icons dominated. As early as 1936 he was occupied with algorithms. Around 1940 he developed an algorithm for rotationally symmetrical forms, such as vases. He called this algorithm his Thinking Machine.

Zementschnitt, 1943 - Arbeiten — Zementschnitt, 1943

Eine Nach Dem Algorithmus Angefertigte Vase, Kupfer Aus Einem Stück Getrieben, Um 1942 - Arbeiten — Eine nach dem Algorithmus angefertigte Vase, Kupfer aus einem Stück getrieben, um 1942

Madonna, Stichelarbeit Kupfer, 1940 1944 - Arbeiten — Madonna, Stichelarbeit Kupfer, 1940-1944

1945 – 1948 Post-war Years

At the end of the war in 1945, Otto Beckmann became a freelance artist in Vienna. He further developed the enamel technique and created a series of iconic pictures. During these years, his livelihood was based on prints, which were distributed by Viennese galleries. A change in the female motif is noticeable here, which detaches itself from schematic severity and hints at a subtle sensuality. The period of figurative representatives ended in 1948.

Ikone, Email Auf Kupfer, 1946 - Arbeiten — Ikone, Email Auf Kupfer, 1946 – Arbeiten

Zerstörte Stadt, Kupferstich, 1946 - Arbeiten — Zerstörte Stadt, Kupferstich, 1946 – Arbeiten

Die Fischfrau, Email, 1947 - Arbeiten — Die Fischfrau, Email, 1947 – Arbeiten

1948 – 1954 Meditative Practices

In 1948, Otto Beckmann met the psychologist Wilfried Daim, with whom he began depth psychology experiments – which he described in his notes as Meditative Practices. These were surreal visions from the subconscious that Otto Beckmann depicted in etchings or metal sculptures. Some depictions directly show the abysmal nature of the subconscious. He completed the period of meditative practices in 1954 with several enamel paintings.

Ohne Titel, Meditative Praktiken, Kupfer geschmiedet - 1949/50 — Ohne Titel, Meditative Praktiken, Kupfer geschmiedet; 1949/50

1950 – 1966 Symbolism and Surface Section

At the beginning of the 1950s, Otto Beckmann turned to abstract representations. After works showing highly abstracted figures and forms, he developed algorithms based on aesthetic rules. The most frequently used algorithm was the so-called surface section algorithm. The preferred material for the realization of the designs was enamel. Works in a technique invented by Otto Beckmann, the so-called Pleytypie¹, were also created during this period.

During this time, Otto Beckmann received commissions for enamel mosaics for residential buildings in the city of Vienna. He designed church gates and interiors for sacred buildings built by the architect Robert Kramreiter

Ausstellung I, Pletypie, Um 1957 (Albertina) - Arbeiten — Ausstellung I, Pletypie, um 1957 (Albertina)

Gruppe, Email Auf Kupfer, 1955 - Arbeiten — Gruppe, Email auf Kupfer, 1955

Nachtzyklus, Emailmosaik – Flächenschnittalgorithmus, 1955 - Arbeiten — Nachtzyklus, Emailmosaik – Flächenschnittalgorithmus, 1955

1960 – 1973 Light and Movement

At the end of the 1950s, Otto Beckmann carried out studies on sculptures, which he photographed under UV light or polarized light. To this end, he produced models made of transparent material (Optical Matrices), which showed a dynamic play of colors in polarized light or glowed from within in ultraviolet light.

The matrices were moved step by step according to a predetermined choreography – this is how his unique cinematic films were created from individual shots.

In collaboration with Gerd Koepf from the Vienna Technical University, he developed computer-generated laser graphics between 1970 and 1973.

Oswald Von Wolkenstein, Cinematrix Im Polarisiertem Licht, 1963 - Arbeiten — Oswald von Wolkenstein, Cinematrix im polarisiertem Licht, 1963

Plexiglasplastiken im UV Licht, Farbfotografie

1965 – 1979 Computer Art

In 1965, Otto Beckmann was given the opportunity to use the technical equipment at the Vienna University of Technology and found scientists there who were enthusiastic about artistic experiments. In this environment, he founded the experimental working group “ars intermedia“. The first computer graphics were created in collaboration with Alfred Grassl. The photos taken from the screen were transferred to paper or offset aluminum plate.

In 1969, his son Oskar began to build his own computer for him, the a.i./70 studio computer. Son and father would continue to develop this analoge computer and build several versions until 1979. The program could be influenced in real time, enabling real-time interaction between artist and machine.

As one of the few computer artists, he also realized enamel works, sculptures, wood and cement cuts as well as public objects based on computer designs.

Beckmann/Grassl, Computergrafik, 1968 - Arbeiten — Beckmann/Grassl, Computergrafik, 1968

Beckmann / Beckmann, Beschwörer, Computergrafik 1971

Ausstellungsfoto Email und Plastik, computergestützt, beide 1969

1966 – 1980 Imaginary Architectur

Otto Beckmann was already working on imaginary architecture in 1966. By this he meant visions of architectural forms that were based solely on artistic considerations. The first works in the field of imaginary architecture were based on Plexiglas objects, later he worked with the studio computer developed by his son Oskar Beckmann. This resulted in façade-like designs and later virtual 3D objects.

In 1980, Otto Beckmann concluded this period with a series of virtual, architectural objects in a real landscape. He called these works “Metropolis 2080”.

Venezia morta, Beckmann / Beckmann, Computergrafik 1970

Architektonisches Projekt Am Meer, Metropolis 2080, 1980 — Architektonisches Projekt am Meer, Metropolis 2080, 1980

1970 – 1978 Period of Found Objects „objets trouvés“

Even during the computer art period, Otto Beckmann sought to incorporate natural chance into his works. The period of found objects “objets trouvés” emerged in various forms. This period can be divided into segments according to the materials used.

It began with iron sculptures, which he welded together from found objects and remnants. Pieces of bark with traces of bark beetles were used for prints in 1973, later formed into small sculptures and cast in bronze. Finally, such figures were also assembled into scenes. Another series of figures was created from brick fragments that had been abraded by the surf.

Magier Besucht Idol, Rindendruck, 1973 — Magier besucht Idol, Rindendruck, 1973

Terrakotten Gruppe, Künstlerfoto, 1976 — Terrakotten-Gruppe, Künstlerfoto, 1976

Triptychon Theatrum Mundi, Bronze, 1976 1977 — Triptychon Theatrum mundi, Bronze, 1976 – 1977

Ab 1978 Neomagical Objects and Recentological Excavations

From 1978, Otto Beckmann also used bones as found objects. It is remarkable as the material bone was rarely used by artists – but it was used by shamans to make their cult objects. He himself documented this renewed turn to magic in 1979 with the artistic figure of Duralei D. Dopotopoff and called the resulting works: Neomagical Objects of Cultism. These are idols and fictitious cult objects of magic, which are often grouped into enigmatic scenes and artistically condensed. In addition to bones, technical set pieces were also used.

The text-generated machines are a particular characteristic of this period. Here, Otto Beckmann was inspired by various literary works (for example, Kafka’s “Penal Colony” or Peter Marginter’s “Feast of Corpses”).

Sphinx Von Theben, Um 1983 - Arbeiten — Sphinx von Theben, um 1983

Pietá, Um 1983 - Arbeiten — Pietá, um 1983

Die Hochzeitsmaschine, Um 1978 - Arbeiten — Die Hochzeitsmaschine, um 1978

Werkübersicht Otto Beckmann – Eine Führung durch eine imaginäre Ausstellung
The Work of Otto Beckmann – An Imaginary Exhibition

¹ Pleytypie

“Pleytypie” (or “Rytypie”) is Otto Beckmann’s own name for a technique he developed based on collages, which he further processed using photography and printing techniques.

The word part “pley” comes from the French “pleinair” (open-air painting), “typie” means print. Pleytypie therefore means “print painted with light”. This experimental mixed technique is made up of the following basic techniques:

Diazotypie: Silverless light-sensitive process for producing line prints and slides in monochrome manner
Line copy: Line copy as a reproduction master that contains no gray tones (halftone image), but only black and white lines and areas
Cyanotypie: Light tracing process invented by John F.W. Herschel in 1842

The basis of the cyanotype is a collage from which a stencil is made. This may be retouched, copied with wet copy paper and then developed and fixed.

See Otto Beckmann, Zwischen Mystik und Kalkül, Peter Peer, Peter Weibel (eds.), 2008, p. 154

The Complete Works of Otto Beckmann

The Creative Periods

Early Works – Kraków and First Years in Vienna

Zementschnitt, 1943

Dose, Email auf Kupfer, um 1945

Eine nach dem Algorithmus angefertigte Vase, Kupfer aus einem Stück getrieben, um 1942

Madonna, Stichelarbeit Kupfer, 1940-1944

1945 – 1948 Post-war Years

Ikone, Email Auf Kupfer, 1946 – Arbeiten

Zerstörte Stadt, Kupferstich, 1946 – Arbeiten

Die Fischfrau, Email, 1947 – Arbeiten

1948 – 1954 Meditative Practices

Buhldämon, Kaltnadelradierung, 1950

Der Antichrist, Email auf Kupfer, 1954

Ohne Titel, Meditative Praktiken, Kupfer geschmiedet; 1949/50

1950 – 1966 Symbolism and Surface Section

Ausstellung I, Pletypie, um 1957 (Albertina)

Gruppe, Email auf Kupfer, 1955

Flaschenhalsengel, Email

Nachtzyklus, Emailmosaik – Flächenschnittalgorithmus, 1955

1960 – 1973 Light and Movement

Oswald von Wolkenstein, Cinematrix im polarisiertem Licht, 1963

Plexiglasplastiken im UV Licht, Farbfotografie

Ohne Titel, Lasergrafik um 1971

1965 – 1979 Computer Art

Beckmann/Grassl, Computergrafik, 1968

Beckmann / Beckmann, Beschwörer, Computergrafik 1971

Ausstellungsfoto Email und Plastik, computergestützt, beide 1969

1966 – 1980 Imaginary Architectur

MA3, Aluplatte, 1967

Venezia morta, Beckmann / Beckmann, Computergrafik 1970

Architektonisches Projekt am Meer, Metropolis 2080, 1980

1970 – 1978 Period of Found Objects „objets trouvés“

Magier besucht Idol, Rindendruck, 1973

Terrakotten-Gruppe, Künstlerfoto, 1976

Triptychon Theatrum mundi, Bronze, 1976 – 1977

Ab 1978 Neomagical Objects and Recentological Excavations

Sphinx von Theben, um 1983

Pietá, um 1983

Die Hochzeitsmaschine, um 1978

1 Pleytypie

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¹ Pleytypie