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PRESSEARTIKEL
June 23, 1953
Frankfurter Neue Presse, June 23, 1953
Painted, woven, and photographed
This article reports on exhibitions by young artists in Frankfurt and Mainz. It particularly highlights the tapestry weavers Johanna Schidlo and Fritz Riedl, who are showing a selection of their tapestries at the Frankfurt Art Cabinet. Both combine technical skill with a modern, abstract visual language. Schidlo's works appear more figurative and narrative, while Riedl's tapestries are consistently non-representational. What they share is a conscious use of the unique effects of material, surface, and weave structure.
This article reports on exhibitions by young artists in Frankfurt and Mainz. It particularly highlights the tapestry weavers Johanna Schidlo and Fritz Riedl, who are showing a selection of their tapestries at the Frankfurt Art Cabinet. Both combine technical skill with a modern, abstract visual language. Schidlo's works appear more figurative and narrative, while Riedl's tapestries are consistently non-representational. What they share is a conscious use of the unique effects of material, surface, and weave structure.
1954
Picture Telegraph
The Magical Craft
This article introduces Johanna Schidlo and Fritz Riedl as young representatives of modern tapestry art. Both learned traditional weaving techniques in 1948 in Aubusson, the French center of tapestry, and subsequently established their own workshops.
Their handwoven tapestries are created entirely from their own designs. While Schidlo's work is more representational and figurative, Riedl's pieces are characterized by a consistently abstract formal language. The article emphasizes the interplay of material, color, structure, and rhythm that lends the tapestries their unique effect.
The works of both artists were exhibited internationally from an early stage, including in Turin, Milan, Frankfurt, and Stuttgart. Their participation in international tapestry exhibitions and the Venice Biennale also brought them recognition beyond Austria.
This article introduces Johanna Schidlo and Fritz Riedl as young representatives of modern tapestry art. Both learned traditional weaving techniques in 1948 in Aubusson, the French center of tapestry, and subsequently established their own workshops.
Their handwoven tapestries are created entirely from their own designs. While Schidlo's work is more representational and figurative, Riedl's pieces are characterized by a consistently abstract formal language. The article emphasizes the interplay of material, color, structure, and rhythm that lends the tapestries their unique effect.
The works of both artists were exhibited internationally from an early stage, including in Turin, Milan, Frankfurt, and Stuttgart. Their participation in international tapestry exhibitions and the Venice Biennale also brought them recognition beyond Austria.
1954
Handweaver & Craftsman
Painters at the Loom
This article introduces Fritz Riedl and Johanna Schidlo as important young representatives of modern tapestry art. Both combine traditional weaving techniques with abstract design and execute their designs themselves on the loom. This results in unique textile artworks in which material, color, and weave structure are integral parts of the composition. Riedl's work is described as strictly abstract, while Schidlo's tapestries feature more figurative elements. Their works have already been presented in several European cities and international exhibitions.
This article introduces Fritz Riedl and Johanna Schidlo as important young representatives of modern tapestry art. Both combine traditional weaving techniques with abstract design and execute their designs themselves on the loom. This results in unique textile artworks in which material, color, and weave structure are integral parts of the composition. Riedl's work is described as strictly abstract, while Schidlo's tapestries feature more figurative elements. Their works have already been presented in several European cities and international exhibitions.
1959
Düsseldorfer Zeitung
Carpets from Vienna
This article reports on an exhibition of Fritz Riedl's tapestries at the Malkasten artists' association in Düsseldorf. Riedl switched from painting to weaving in 1949 and, after training with Jean Lurçat in Aubusson, developed a distinctive working method. His tapestries are created directly on the loom, not from pre-made cartoons.
The article highlights the clear order of his abstract compositions, his confident sense of color, and the subtle, nature-inspired gradations of color. His lithographs are also mentioned favorably. Furthermore, the article refers to his international exhibition successes and his participation in documenta in Kassel.
This article reports on an exhibition of Fritz Riedl's tapestries at the Malkasten artists' association in Düsseldorf. Riedl switched from painting to weaving in 1949 and, after training with Jean Lurçat in Aubusson, developed a distinctive working method. His tapestries are created directly on the loom, not from pre-made cartoons.
The article highlights the clear order of his abstract compositions, his confident sense of color, and the subtle, nature-inspired gradations of color. His lithographs are also mentioned favorably. Furthermore, the article refers to his international exhibition successes and his participation in documenta in Kassel.
12/01/1956
The Boston Globe
Posters and Tapestries
This article reports on a joint exhibition at the Museum School featuring tapestries by Fritz Riedl and Johanna Schidlo, as well as posters by the Swiss artists Armin and Dorli Hofmann. Riedl and Schidlo are presented as Viennese painters who discovered a new artistic medium in the loom. Schidlo's works appear more pictorial and figurative, while Riedl's tapestries are more geometric, vibrant in color, and emphasize texture. The exhibition thus celebrates modern European achievements in tapestry and graphic art.
This article reports on a joint exhibition at the Museum School featuring tapestries by Fritz Riedl and Johanna Schidlo, as well as posters by the Swiss artists Armin and Dorli Hofmann. Riedl and Schidlo are presented as Viennese painters who discovered a new artistic medium in the loom. Schidlo's works appear more pictorial and figurative, while Riedl's tapestries are more geometric, vibrant in color, and emphasize texture. The exhibition thus celebrates modern European achievements in tapestry and graphic art.
July 19, 1989
Mexican newspaper
Fritz Riedl, speaking at the exhibition "Fritz Riedl and His Circle" at the Museo de Arte Moderno, expressed optimism about the future of Mexican textile art. He is convinced that it could gain greater international recognition within a few years, particularly due to Mexico's rich textile tradition, its masterful use of color, and the expressive power of its artists.
At the same time, Riedl emphasized that tapestry art must be understood as an independent art form and not merely as a craft. He believes this requires more exhibitions, public outreach, and greater integration into the international art market. He described his students as surprisingly versatile in both technique and design. In the long term, he plans to work more frequently in Europe to promote cultural exchange between Mexico and Europe.
At the same time, Riedl emphasized that tapestry art must be understood as an independent art form and not merely as a craft. He believes this requires more exhibitions, public outreach, and greater integration into the international art market. He described his students as surprisingly versatile in both technique and design. In the long term, he plans to work more frequently in Europe to promote cultural exchange between Mexico and Europe.
Newspaper clipping, probably from the 1950s.
The article "A Visit with the Painter Fritz Riedl" portrays Fritz Riedl as a young representative of abstract art. Although originally trained as a painter and graphic artist, he is deeply involved in tapestry weaving. His designs originate from abstract graphic compositions, which he develops step by step into large-format tapestries.
Riedl describes his artistic development from early representational works through expressive, war-influenced paintings to abstraction. Clear color fields, a balanced order, and the search for the center of a composition are particularly important to him. His works are already represented in museums and collections both in Germany and abroad; he has also participated in numerous exhibitions and the 1954 Venice Biennale.
Riedl describes his artistic development from early representational works through expressive, war-influenced paintings to abstraction. Clear color fields, a balanced order, and the search for the center of a composition are particularly important to him. His works are already represented in museums and collections both in Germany and abroad; he has also participated in numerous exhibitions and the 1954 Venice Biennale.
10/04/1967
N.Y. State Newspaper and Herald
Fritz Riedl at the Austrian Institute in New York
In 1967, Fritz Riedl presented a selection of his tapestries and wall hangings in a double exhibition at the Austrian Cultural Institute in New York. The article describes him as an internationally recognized master of tapestry who directly combined art and craft.
Riedl did not limit himself to designing a loom, but carried out the weaving process himself. His works are characterized by an almost improvised interplay of colors, dynamic forms, and an increasingly abstract visual language. Representational motifs recede into the background and are replaced by free, symmetrical, or kaleidoscopic compositions.
The exhibition comprised 15 tapestries from his creative period between 1952 and 1967 and was supplemented by preliminary sketches and lithographs. It was subsequently shown in other cities in the USA.
In 1967, Fritz Riedl presented a selection of his tapestries and wall hangings in a double exhibition at the Austrian Cultural Institute in New York. The article describes him as an internationally recognized master of tapestry who directly combined art and craft.
Riedl did not limit himself to designing a loom, but carried out the weaving process himself. His works are characterized by an almost improvised interplay of colors, dynamic forms, and an increasingly abstract visual language. Representational motifs recede into the background and are replaced by free, symmetrical, or kaleidoscopic compositions.
The exhibition comprised 15 tapestries from his creative period between 1952 and 1967 and was supplemented by preliminary sketches and lithographs. It was subsequently shown in other cities in the USA.
1967
The Way Back – An Artist's Leap Forward
This article reports on a joint exhibition by Fritz Riedl and the ceramic artist Kurt Ohnsorg at the Neue Galerie der Stadt Linz (New Gallery of the City of Linz). The focus is on Riedl's large-format tapestries, which he designs and weaves himself. His works originate from clear geometric structures, yet are brought to life and become multifaceted through the slow weaving process. The author emphasizes Riedl's connection between traditional craftsmanship and modern abstract art, as well as the timeless, distinctive impact of his tapestries.
This article reports on a joint exhibition by Fritz Riedl and the ceramic artist Kurt Ohnsorg at the Neue Galerie der Stadt Linz (New Gallery of the City of Linz). The focus is on Riedl's large-format tapestries, which he designs and weaves himself. His works originate from clear geometric structures, yet are brought to life and become multifaceted through the slow weaving process. The author emphasizes Riedl's connection between traditional craftsmanship and modern abstract art, as well as the timeless, distinctive impact of his tapestries.
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