The love/hate relationship to one’s country and the specifically Viennese pleasure in the “beautiful death” and in the macabre, present in the work of such Austrian artists as Christian Ludwig Attersee, Günter Brus, Hermann Nitsch, and Arnulf Rainer, are barely a factor in that of Siegfried Anzinger. Even the psychologizing painting of Gustav Klimt, Oskar Kokoschka, Egon Schiele, or Arnold Schönberg leaves hardly any traces. Anzinger circles his own identity not so much in a return to the cultural source of his background as in a debate with a broad sweep of work, from Giotto up to and including