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Marianne Fieglhuber was born in Vienna on August 12, 1886. Her mother, a born Zifferer, came from St. Pölten, as did her father, who as a respected merchant ran a general store. She grew up with two sisters and a brother and attended the middle school in the 6th district of Vienna Mariahilf. After completing school, she was supposed to work as an accountant in her father's company, but the parents accepted her wish to become an artist and enabled her to study at the art school for women and girls in Vienna, which she started visiting in 1904. This institution, founded in 1897, was the first public art school for women in Vienna, which before that could only be taught privately in painting, sculpture or graphics. She learned the technique of etching from Ludwig Michalek and soon joined the etching club founded by Michalek's students. As part of the club, she participated in several exhibitions. Her etchings were shown in Vienna, Salzburg and Leipzig.   Marianne Fieglhuber learned painting from Max Kurzweil, Robin Christian Andersen and Egge Sturm-Skrla. In addition, she trained herself artistically and took study trips to France and Italy. She joined the Association of Austrian Artists and took part in their annual exhibitions. After her marriage, she carried the double name Fieglhuber Gutscher and moved with her husband to an apartment in Sandwirtgasse in Vienna's 6th district, which she also used as a studio. The First World War broke out soon after, and her husband was drafted in. Their daughter Marianne was born in 1915, and two years later, in 1917, their son Eduard. Due to her family obligations, she had little freedom for her artistic work during the war. In addition, her husband, who never supported her painting, came back from the war almost as a different person and now literally rejected her artistic ambitions. For this reason, there are only a few paintings from the 1920s. However, it seems that she can prevail against him over the years, because more fruitful phases follow in her work. She regularly exhibited in the Künstlerhaus and the Vienna Secession in the 1930s. Political developments in the late 1930s once again negatively favored her work. Marianne Fieglhuber-Gutscher is critical of the annexation of Austria into Nazi Germany, not least because some of her friends were Jewish.   She reportedly did not attend Hitler's rally on Vienna’s Heldenplatz in 1938. She spent the beginning of the Second World War with her family in the apartment in Vienna and later in the family's second home, a small house in Kasten near Böheimkirchen. After the war ended, she lived again in the apartment in the 6th district in Vienna. From the 1950s on, she commuted between Vienna and Gratkorn near Graz, where her now married daughter lived with her family. In 1956 she received her first and only order for a work in public space. For the facade of the newly built residential complex at Rechberggasse 16-20 in Vienna's 10th district, she created the “Family” mosaic. Plans for a glass window for the Cistercian monastery in Rein were not carried out. After the death of her husband, who according to her granddaughters, had enslaved her, a new life began for Marianne Fieglhuber Gutscher. She took part in numerous organized study trips that took her to Spain, Egypt, Belgium, Holland, Sweden, Norway, Greece, Scotland and Finland. She moved in with her daughter in Gratkorn, where she set up her studio in the living room. Now the time had finally come where she could paint without restrictions and devote herself to the constant development of her mind by reading and listening to music. She joined the Styrian Association of Fine Artists, but continued to participate in cultural events in Vienna and exhibits there, for example, in the Künstlerhaus. In 1977 her works were shown in the Austrian gallery in the Upper Belvedere in Vienna. Marianne Fieglhuber Gutscher died on January 20, 1978 at the age of 92 in Graz. Her grave is in the town cemetery in St. Pölten.
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