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Franz Anton Zeiller was the only son of Johann Zeiller, he inherited the house and the property in the Untermarkt. After his father’s death Franz Anton lived at Paul Zeiller who supported him at his drawing talents. FAZ seemed to live in Reutte until his cousin’s death. Then he began his years of apprenticeship. He spent one and a half years at Johann Ev. Holzer, there he attended a painting school and later he worked as an assistant at the ceiling fresco of the collegiate church „Münsterschwarzach am Main“ (1738-39). He also worked on smaller ceiling frescos in the Antonius-church.
He spent the years 1742-44 in Rome where he sketched sights and treasures. His sketchbook is kept by the Ferdinandeum in Innsbruck. In Bologna he enlarged his collection with drawing of early baroque painters. In Venice he studied Tizian and got to know various artists.
After his studies in Italy he worked at the fresco of the pilgrimage-church in Birnau am Bodensee. On account of the assignment of Benedicterstif St. Mang in Füssen he got independent. The first assignment was the ceiling painting in Stams. From 1756 he painted in churches in the Allgäu where he worked with his cousin Johann Jakob Zeiller on the frescos and altarpiece of Ottobeuren. For Franz it was the largest assignment in the South of Germany. 1764 Franz was appointed to Brixen where he created his most famous works. These paintings were destroyed by a fire in 1839. On October 27, 1768 he got a letter of appointment to the bishop’s personal painter. In 1775 he changed his residence and moved to Innsbruck where he created several ceiling frescos. After his cousin’s death he returned to Reutte in 1783 but he didn’t live in the Zeillerhaus. In Bichlbach he finished his cousin’s paintings and at the age of 70 he started to paint the ceiling fresco in the church of Wängle.
On March 1, 1794, Franz Anton Zeiller, the great painter, died in Reutte.
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In 1764 the graffiti-artist Franz Anton Zeiller only known in the underground as FAZ was signed on by the two spray can-firms Belton and Montana. The reason why they employed him were his graphics in the churches in the Allgäu. FAZ got an offer to work together with other painters in a studio in Brixen. He gave his okay and a very good time started for him. The mood in the studio was relaxed. The guys were inspired by professional muses who had been engaged by the company to take over this task. In passing a DJ named Gallus Zeiller played his CDs and spoiled the friends’ ears with rhythmic beats. During this period FAZ created his coolest paintings and earned respect and admiration in the scene. After days of hard work they would celebrate and „chill out sessions“ would go on. One day the common washing machine got „hole corrosion“ and nobody could help it. FAZ who had got her loved couldn’t stand it seeing her in pain. Therefore he went to buy a packet of „Calgon“ but was never seen again.
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Mariah
and the infant Jesus
Oil on canvas 18th century
Mariah stands behind the infant Jesus who is lying on a pillow at the table. She looks at him with a tender loving and warmth. One arm she holds under the baby’s head and in the other one she holds a cross. The infant Jesus looks at the cross as if he would know the meaning of the cross. He lies there almost naked with his arms stretched out. He doesn’t smile but looks rather sadly at the viewer. It is suggested that Jesus wants to say: „I accept my destiny.“ Behind Mariah there are some angels’ heads. The angels look serious and mourned, too.
The foreground is painted richly but not detailed. Only the infant Jesus and his bed are illuminated, Mariah doesn’t seem to be as bright as her child. The angels almost vanish in the background. The painting shows that Jesus expects and bears his destiny already as a child. Mariah’s look shows the care of a mother for her child. She is conscious of what the cross in her hand means to Jesus and she surrenders to her fate with dedication. The issue of the painting is Jesus’ future pain. It is noticed and expected by both figures.
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