Laughing farmers, who, like little dervishes, struggles through the picture carefree, Belvedere curator Sabine Grabner is aptly reduced to Ferdinand Georg Waldmüller on the occasion of a retrospective in 2009. A misjudgment that has long since been refuted by the professional world, not just the socially critical component. One. Because they are the works that nourish Waldmüller’s popularity in posterity.
