Born in Saalfelden (Austria), in 1943

Exceptional watercolorist, Gottfried SALZMANN makes spring all the poetry of the cities he paints and transforms. He also explores the interaction between drawing, printmaking, photography, acrylic and oil painting. Since 1968 he exhibited in major international galleries in Europe, Japan, the United States ... Many publications have been devoted to him in french, german and english.


Exhibitions & art fairs


Exposition "Regards"


Exposition 'Oeuvres récentes"


Gottfried SALZMANN dans son atelier à Vence


Gottfried SALZMANN, le peintre de l'eau - 1ere partie


Gottfried SALZMANN, le peintre de l'eau - 2e partie



19631965 : Vienna Academy of Art, Austria

2013 : Retrospective at the Salzburg Museum, Austria
2012 : Kubin Museum, Zwicklet, Austria
2009 : Le Carmel, Tarbes, France
2008 : Espace Raymond Moretti, Esplanade of Defense, France
2006 : Inauguration of the Gottfried Salzmann’s hall at the Carolino Augusteum Museum, Salzburg, Austria
2003 : Carolino Augusteum Museum, Salzburg, Austria.
2001 : Musée Saint-Maur-des-Fossés, La Varenne, France
1998 : Palais Bénédictine, Fécamp, France
1996 : Centre d’art Contemporain of Rouen (with Nicole Bottet), France
1993 : Musée de la Seita, Paris, France
1991 : Oberösterreichisches Landesmuseum Linz, Austria ; Metropolitan Museum of Manille, Philippines ;  Museum of Modern Art Rupertinium, Salzburg, Austria
1987 : Staatliche Sammlungen Schweinfurt, Germany
1982 : Albertina Museum, Vienna, Austria
1973 : Maison de la Culture d’Amiens, France

Austria : Vienna (Galerie Würthle, Galerie Stubenbastei, Galerie Contact), Salzburg (Galerie Welz), Linz (O Ö Kunstverein, Galerie Grüner, Galerie Figl), Steyr, Innsbruck (Galerie Bloch, Galerie Maier), Lusteneau (Galerie Neufeld), Klagenfurt (Künsterhaus, Galerie Slama), Graz, Bozen
Belgium : Brussels
England : London (Albermale Gallery)
France : Paris (Galerie Flak, Galerie de l’Atelier Lambert, Galerie l’Oeuil Sévigné, Hôtel de Ville, Galerie Nichido, Galerie Etienne de Causans, Galerie Arcturus) Rouen (Centre d’Art Contemporain), Aix-la-Chapelle, Amiens (Maison de la Culture), Deauville, Tours
Germany : Krefeld (Galerie Peerlings) ; Düsseldorf (Galerie Walther) ; Koln (Galerie Boisserée) ; Munich (Galerie Gunzenhauser, Galerie Seifert-Binder) ; Hambourg (Galerie Lochte) ; Treves (Galerie Palais Walderdorff) ; Darmstadt (Galerie Netuschil) ; Francfort, Stuttgart, Mayence, Schweinfurt, Nüremberg (photographies), Aix-la-Chapelle
Hongrie : Budapest
Japan : Tokyo (Galerie Nichido), Fukuoka (Galerie Nichido)
Liechtenstein : Vaduz (Galerie Haas)
Philippines : Manille
Poland : Warsaw
Swiss : Bern (Galerie Vita), Bâle, Lausanne, Fribourg (Galerie Ollier)
United-States : New-York (Austrian Institut, K.P.F. Gallery, Franklin Bowles Gallery), Washington DC (Bader Gallery), San Francisco (Franklin Bowles Gallery)

ART FAIRS (selection of cities)
Alexandrie, Bâle, Koln, Düsseldorf, Francfort, Gand, Hong-Kong, Los Angeles, Paris (Art Paris et Elysées de l’Art with  Galerie Arcturus, FIAC) Stockholm, Strasbourg, Vienna, Washington

Austria : Albertina Museum, Vienna ; Museum of Modern Art Rupertinium, Salzburg ; Carolino Augusteum Museum, Salzburg ; Oberösterreichisches Landesmuseum, Linz ; Essl Klosterneuburg Collection, Vienna
France : Musée de la Ville de Paris ; Bibliothèque Nationale, Paris
Lichtenstein : Musée d’Art du Lichtenstein, Vaduz
Philippines : Metropolitan Museum of Manila, Manille
South Korea : Seoul Museum, Seoul
Suisse : Musée Jenisch Vevey, Vevey

1977 : International Award for Watercolor, Roma, Italy
1975 : Prize Drawing “ Salzburger Wirschatskammer ”, Austria
1972 : Prize Drawing David-Weill, Paris – Theodor Körner Prize, Vienna, Austria

2013 : Ed. Prestel Verlag, Munich, London, New-York
2006 : Gottfried Salzmann’s Monography, Coedition Thalia Paris and Edition Welz Salzbourg, texts from Pascal Bonafoux, Nikolaus Schaffer, preface by Klaus Albrecht Schröder, curator of the AlbertinaMuseum, Vienna
2003 : Salzmann, Salzburg, Paris, New York, Catalogue Museum Carolino Augusteum, texts from Erich Marx, Nikolaus Schaffer
2000 : Salzmann, L’aquarelle, Edition Callwey, Munich, text from Salzmann
1999 : Salzmann, Poésie der Städte, Edition Galerie Peerlings, Krefeld (Germany), texts from Spielmann, Bottet, Salzmann
1998 : Salzmann, Edition Galerie Welz, Reflets, Salzburg, text from Otto Breicha ; Salzmann, Palais Bénédictine, Fécamp, text from Nicole Bottet
1997 : Salzmann, Les villes, Prieuré de Saint Cosme, Tours, text from Marc Hérissé
1993 : Salzmann, Wasser-Speigelungen, Edition Galerie Welz, Salsbourg, text from Nicole Bottet, Salzmann, Querdirch, Edition Galerie Peerlings, Krefeld (Germany), text from Heiderose Langer
1991 : Gottfried Salzmann, Paysages urbains, et paysages de la nature. Exhibition catalog of Oberösterreichisches Landesmuseum Linz, text from Erich R. Heller
1988 : Salzmann, Städte, Galerie Welz, Salzbourg, text from B.Denvir
1985 : Gottfried Salzmann, NewYork, Galerie Seiffert-Binder, Munich, text from Gérard Xuriguera
1982 : Gottfried Salzmann, Aquarelles and dessins. Exhibition catalog of the Albertina Museum, Vienna, texts from Walter Koschatzky and Jean-Marie Dunoyer ; Gottfried Salzmann, Edition Galerie Neufeld, Lustenau (Austria), text from Walter Koschatzky ; Gottfried Salzmann, Dessins, Edition Galerie Welz, Salzbourg, text from Wieland Schmied
1977 : Salzmann, Aquarelles, Edition Galerie Welz, Salzburg, text from Walter Koschatzky



If there is one technique of late 20th century art that is taboo to the avant-garde, it has to be watercolour. This is even more surprising considering the fact that art’s expansion since the 60s surely knows no aesthetic and technological bounds. Creative freedom allows the artist to make full use of all materials and techniques – from industrial to traditional artisan forms of expression. Only watercolour seems to have been tainted by the persistent abuse caused by evening classes and suchlike for lay-artists from Tuscany to northern Germany. This acts as a historical injustice, which becomes even more inconceivable considering that, in the first half of the 20th century, some of the most important artists were dedicated watercolourists, led by Paul Klee and other ‘Blue Rider’ group artists.

Inevitably, creating watercolours when their background is so closely linked to a certain era appears risky – just as risky as specialising in topographical views: urban vedutas and landscapes. Thus it appears almost as a radical counter-taboo when Gottfried Salzmann turns towards these motives using a technique that is heavily laden with an aesthetic verdict. A technique that had its last grand master in the old Oskar Kokoschka – the same technique as Gottfried Salzmann’s, yet so completely different. But the difference between Kokoschka’s watercolour drawings and Gottfried Salzmann’s unique wet in wet technique could not be starker. Salzmann is much closer to Emil Nolde.

and William turner, as well as to some of the creations of Rudolf von Alt and the still much underestimated painter Wilhelm Thöny of Graz, Austria. However, both compositionally and colouristically, Salzmann is unmistakable. Even though virtuosity is not anymore being considered a mark of artistic quality, one cannot help but honour Gottfried Salzmann as the possibly most virtuous and complex watercolourist of the last few decades. Salzmann skillfully turns the virgin white paper into an expressional statement equal to colour whilst also using it to stabilise his compositions. His water and paint splashes appear to have been applied accidentally. Yet they are of such an exquisiteness that does not appear sweet or superficial because, in an almost Japonistic balance, it is merely a part of the complete concept: it never exists just for its own sake.

For the Albertina, the collection of Salzmann watercolours owned by the museum is one of the most important treasures. Following the line from Albrecht Dürer, Rudolf von Alt and the later Klee, Salzmann establishes himself as rightful heir and successor, not as epigone. Gottfried Salzmann rehabilitated not only a seemingly long exhausted genre such as that of landscape art and urban vedutas, but also the limitless possibilities of a technique that, for unjustified reasons, has remained in the shadows for too long.

Dr. Klaus Albrecht SCHRODER