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Painting the Author: The Portrait of Iris Murdoch by Marie-Louise von Motesiczky In Iris Murdoch’s novel The Book and the Brotherhood the description of the remodelled interior of a formerly musty and old-fashioned house includes the mentioning of a series of artists: “The drawing room … was now painted a glowing aquamarine adorned with a huge scarlet abstract by de Kooning over the fireplace and two colourful conversation pieces by Kokoschka and Motesiczky.”1 While de Kooning and Kokoschka are generally known, many readers probably wonder who Motesiczky is. Indeed, it might be quite appropriate to call Marie- Louise von Motesiczky a “well-kept secret”. Only a relatively small circle of people know the paintings of Motesiczky and a smaller circle still are aware of her connection with prominent figures like Iris Murdoch, the writer Elias Canetti or the anthropologist and poet Franz Baermann Steiner. The substantial body of works Motesiczky left at her death in 1996 includes striking portraits of all three. In particular Elias Canetti, who entertained a friendship with Motesiczky that lasted for more than fifty years, was a favourite if not an easy and often evasive subject for the artist (Motesiczky’s Portrait of Elias Canetti of 1992 belongs to the National Portrait Gallery in London). Marie-Louise von Motesiczky was not a prominent figure in the British art scene. Although the few solo exhibitions in England, for example at the Goethe Institute in London in 1985, were extremely well received by the press and substantially enlarged the number of admirers of her work in this country, it is fair to say that Motesiczky achieved the status of a widely accepted artist only in her native Austria. After several solo exhibitions a major retrospective at the Österreichische Galerie im Belvedere in Vienna in 1994 celebrated nearly seventy years of the artist’s work. Her undisputed place in the canon of Austrian art was once again proved by her prominent inclusion in the exhibition Jahrhundert der Frauen at the Kunstforum in Vienna in 1999. Numerous paintings are in private collections all over the world and in several public collections, such as the Tate Gallery in London, the Fitzwilliam Museum in Cambridge, the Stedelijk Museum of Modern Art in Amsterdam and the Österreichische Galerie im Belvedere. Motesiczky’s relative obscurity in this country can be attributed to several factors: her émigré status left her without the established network of professional support and her style of painting, a kind of Expressionism that was founded on her training with Max Beckmann, met with lack of interest. Furthermore, Motesiczky did not actively push her work into the public sphere, but rather was content with focusing on creating new art works. Her awareness and ambivalent evaluation of this fundamentally lonely situation that, however, might bear unique artistic possibilities is expressed in the following quotation: “In painting there was no confrontation. Isolation is a word. It sounds sad, but can also be something very beautiful. If isolation was good or bad, one can only know much later.”2 One of the few people who attempted to increase Motesiczky’s fame in England was Iris Murdoch. Her appreciation of and interest in Motesiczky’s paintings span several decades and reach a climax in 1963 when Murdoch commissioned Motesiczky to paint her portrait. The history of this portrait will be explored here. I Marie-Louise von Motesiczky was born in Vienna in 1906. Her father Edmund, a gifted amateur cellist, died when she was only three. Her mother Henriette came from an extremely wealthy Jewish family of bankers, industrialists and scholars who played a vital role in the intellectual and artistic circles of Vienna, including the philosopher Franz Brentano and Robert von Lieben, the inventor of the amplifying valve. Motesiczky’s grandmother Anna von Lieben was one of the earliest patients of Sigmund Freud and thus a crucial inspiration for the creation of psychoanalysis. Having left school at the age of thirteen, Motesiczky continued her education privately, visiting art schools in Vienna, The Hague, Frankfurt and Paris before being accepted in Max Beckmann’s master class at the Städelschule in Frankfurt in 1926/27. Beckmann, whom she had already met as a teenager, was to have a shaping influence on her art and also became a lifelong friend. During the following decade Motesiczky quietly practised her art in Vienna. When, in 1938, Hitler marched into Austria, Motesiczky, together with her mother, immediately left for Holland. Their flight would eventually take them to England the following year, where they settled in Amersham during the war. Motesiczky’s brother Karl, who stayed on in Austria, managed to send on her paintings – as a result 1Iris Murdoch: The Book and the Brotherhood, London 1988, p. 536 f. 2“In der Malerei fehlte jede Konfrontation. Isolierung ist ein Wort. Es klingt traurig, kann aber auch etwas sehr Schönes sein. Ob die Isolierung gut oder schlecht war, weiß man erst viel später.”: Marie-Louise von Motesiczky: Etwas über mich, in: Marie-Louise von Motesiczky, exh. cat., Österreichische Galerie im Belvedere, Vienna 1994, p. 13-16, here p.15. - 1 - some of the early works have survived. Karl subsequently became active in the resistance. During an attempt at smuggling refugees into Switzerland he was denounced and sent to Auschwitz, where he perished soon afterwards. After the war Motesiczky moved to London and eventually purchased a house in Hampstead, where she settled for the last thirty years of her life and continued to work steadily at her painting. Besides Max Beckmann, Oskar Kokoschka, whom the Motesiczkys knew in Vienna and later frequently met in England, came to be a decisive influence on Motesiczky’s work. Although she never studied with him, his constant encouragement and comments on her works gave her guidance and support. Yet, despite the presence of two such masters of modern German art, Motesiczky developed her own very distinctive style early on. The strongest works can be found among her portraits and self-portraits. The group of works depicting her mother, spanning some fifty years and comprising about twenty paintings and numerous drawings and sketches, is especially outstanding in its honesty and directness. Motesiczky faithfully chronicles her mother’s descent into extreme old age – she lived to be 96 – with an empathy and boldness that sometimes seems almost brutal. The 1936 drawing Hunting (Marie-Louise von Motesiczky Charitable Trust, London) shows a strong, matronly figure in a boat, involved in one of her favourite pastimes. Two decades later, the mother still presents an impressive, almost manly, pipe-smoking figure in Henriette von Motesiczky (1959, private collection, Switzerland). Here, the onset of old age can faintly be detected in the wearing of a wig, from which a few strands of hair have managed to escape. The painting From Night into Day of 1975 (Tate Gallery, London) shows the mother, now in her mid-nineties and almost completely bald, retiring in bed. Together with her hair she has lost all former energy. Only the whippet, a constant companion, provides a remnant from her hunting days. Finally, extreme helplessness exudes from the shrivelled body and almost childlike features of Mother with Baton of 1977 (Arts Council of Great Britain). Abstaining from beautification and idealisation and with a passion for truth, Motesiczky succeeds at boldly depicting her sitter “objectively” in all the consequences of old age. II Like Motesiczky and her mother, another pair of refugees from Nazi-occupied Europe sought shelter in Amersham in the early 1940s: Elias Canetti and his wife Veza. Soon a remarkable friendship developed between the painter and the couple. It was Elias Canetti who was to become a crucial influence on Motesiczky’s life. Their long-lasting and intellectually extremely stimulating friendship survived the death of Veza and Canetti’s subsequent founding of a family with his second wife Hera, although it was extremely painful for Motesiczky to come to terms with the fact that her hope of marrying Canetti eventually had to be buried. It could also have been Canetti who introduced Marie-Louise von Motesiczky to Iris Murdoch, whom he had known for a number of years. When both women met for the first time is unknown, but was presumably in the mid 1950s. It is however certain that a lasting friendship developed. A postcard from 1986 still expresses Murdoch’s curiosity about new paintings with the concise wish: “Wd like to see you and pictures!”3 An early climax of the relationship was the commission to paint the author’s portrait. The Portrait of Iris Murdoch (see cover illustration), which belongs to St. Anne’s College, Oxford, was completed in 1964. On the occasion of leaving St. Anne’s in order to devote her time fully to her novels and becoming an honorary fellow of philosophy in 1963, Iris Murdoch commissioned Marie-Louise von Motesiczky to do a portrait of her. As a parting gift to the college, Murdoch was willing to pay the difference between the college’s contribution and Motesiczky’s normal fee. By that time, having just published her sixth novel, Murdoch had become a well-known and established figure on the British literary scene. She chose Motesiczky as an artist she personally admired and thought undervalued in this country. With this commission she hoped to help increase Motesiczky’s reputation and make her more familiar to a wider audience: “I admire her work very much & I think she is not well enough known in England. (She has a big reputation in Austria where she originally comes from.)”4 Motesiczky portrayed Murdoch facing the viewer, the head turned to the right with an absent, dreamlike expression on her face and a slightly windblown air about her whole presence.

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