Starting with the first version of the Mountain Mower (M 234), which Egger–Lienz painted in the summer of 1907 in Längenfeld / Ötztal, the artist tackled this subject in many new versions and variations which culminated in the expressively exaggerated Reapers from the early 1920s.
The decisive stages of development are marked by the Mountain Mowers of 1907, the first version of the pictorial type Three Reapers of 1918 (M 684), and Reapers in a Gathering Storm of 1922 (M 453). These works are all in the Leopold Museum in Vienna.
These three stages can be distinguished by the following features. In the Mountain Mower motif, which can be found in variations and partial replicas up until 1918, the whole figure is visible and stands in low grass. In the Reapers motif, which first appeared in 1918 and was thereafter painted by the artist exclusively, the figures stand up to their calves in corn or high grass. This also applies to the dramatic scene with Reapers in a Gathering Storm.
The solitary Reaper in this picture was painted in 1918, like the new version of the motif with three figures, and represents the central figure of these three. He is painted on canvas (and not on cardboard which, as a rule, was the case with all replicas and partial replicas painted in connection with important new works). The bold, spontaneous style of painting suggests that this single figure could have been painted in conjunction with the composition of three figures.
In my opinion, this picture holds a fundamental position in the group of works Mowers and Reapers. Illustrations of the versions cited above can be found in my monograph on pages 109, 263 and 397. This work was previously unknown and will be added to a future expanded edition of the catalogue raisonné.

Wilfried Kirschl

Literatur: Wilfried Kirschl: Albin Egger-Lienz. Das Gesamtwerk. Verlag Christian Brandstätter 1996. vgl. Abb. S. 555. WVZ Nr.451 – M 459.