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Austrian art critic, writer, and painter.

Career Summary

Seligmann studied at the Vienna Akademie der bildenden Künste 1880-84, and with among others Christian Griepenkerl 1884-87 at the Munich Akademie der Bildenden Künste. He travelled many times to Germany, France, Italy, the Balkans, and Turkey, for purposes of study. Thereafter, he worked as art correspondent for various newspapers, including the Wiener Sonn- und Montags-Zeitung (1894-1904), Die Wage (1898-99), the Neue Freie Presse (1903-34) and Die Moderne Welt (from 1918), in the course of his contributions to which, though against contemporary art, he advocated progressive plein-air painting.

For many years, Seligmann taught at the Vienna Conservatory of Music (Akademie für Musik und darstellende Kunst): from 1889 to 1898 as instructor in "historical costume art," from 1910 to at least 1919 as lecturer (Dozent) in "costume art and art history," from 1912/13 with the title of Professor. In 1897, he founded the Kunstschule für Frauen und Mädchen (Vienna Art School for Women and Girls), later the Frauenakademie (Academy for Women).

Seligmann and Schenker

Seligmann is first mentioned in Schenker's diary for August 9, 1906 going to a concert at the Mozarteum with Schenker, Botstiber, and Moriz Violin; and on October 9, 1906, with Dr. Wilhelm Goldbaum, he advises Schenker on the choice of title for Harmonielehre (OJ 1/5, pp. 17, 22).

Correspondence with Schenker

Correspondence from Seligmann to Schenker is preserved as OJ 14/23 (25 items, 1902-35), that from Schenker to Seligmann at the Wienbibliothek im Rathaus, as J. N. 94475-95664 passim (17 items, 1903-31).


  • Österreichisches Biographisches Lexikon 1815-1950, Band XII (Wien 2005), pp. 152-153 and online
  • Jahresberichte der K. K. Akademie für Musik und Darstellende Kunst (Vienna, 1909-19)


  • Marko Deisinger

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  • CA 132 Handwritten letter from Schenker to Cotta, dated October 13, 1910

    Schenker incloses a reaction to the Preface of Kontrapunkt 1 by Adalbert Seligmann. —He assures Cotta that their printing and production costs bill will be paid promptly.

  • OJ 6/6, [7] Handwritten letter from Schenker to Moriz Violin, dated March 20, 1918

    [50th Festschrift:] Schenker intends not to influence anyone in their decision to contribute or not. — [Personal issues:] Schenker agrees to draw a line under issues discussed in OJ 6/6, [6]; however, he accounts for his epistolary silence regarding Valerie Violin, including the possible contact with Seligmann; he attempts to explain the matter of the jars of jam and the absence of visits to Schönbrunn, describing vividly how tirelessly Jeanette works and how dependent they both are on Sunday for work time; he expresses outrage that he and Jeanette live so poorly while his pupils live lives of luxury, commenting bitterly on state of play over the Sofie Deutsch stipend; he wishes the Violins well for their 6-month stay in Marburg.