Somerset East, Eastern Cape, South Africa,1921
Cape Town, Western Cape, South Africa, 2003
1940 – 1944: Wits Tech Arch School under Eric Byrd and Maurice van Essche.
1952: Van Riebeeck Tercent Exhibition, Cape Town. 1953: Rhodes Cent Exhibition, Bulawayo. 1954: First solo show. 1956: First Quad of South African Art. 1963: Sao Paulo Biennale. 1967: Rep Fest Exhibition, Pretoria. 1971: Rep Fest Exhibition, Cape Town. 1982: Cape Town Trien.
South African National Gallery, Cape Town; Pretoria Art Museum; William Humphreys Art Gallery, Kimberley; Hester Rupert Art Gallery, Graaff-Reinet; Rembrandt Art Foundation, Stellenbosch; University of South Africa Collection; Rand Afrikaans University, Johannesburg; University of the Orange Free State, Bloemfontein; SASOL Collection, Johannesburg; William Annedale Art Gallery, Lichtenburg; Pietersburg Collection.
The Cape Gallery Online, Carl Büchner. http://www.capegallery.co.za/carl_buchner_cv.htm
Loots, A. 2003. Obituary Carl Büchner. http://www.vgallery.co.za/2003article8/vzine.htm
CARL ADOLPH BÜCHNER‘s early work was largely preoccupied with the human subject matter. His painted forms were often slightly elongated with an expressionist distortion. The palate knife that he used in these early works was later replaced with brush marks. He appears to have been influenced by during his 1957-1958 tour of Europe, particularly by the work of Morandi. In period that followed, Büchner mostly abandoned the human figure in favour of still life paintings.
After obtaining his Fine Arts Degree at the Witwatersrand Technical College School of Arts and Crafts, Büchner went on to obtain his National Teaching Diploma in 1944. He continued to teach at several schools in Gauteng, and at the Pretoria Art Centre with Walter Battiss and others. He had his first solo exhibition in 1954 but it was only in 1970 that he retired from teaching to start his career as a full time artist.
Büchner is best known for his portraits of children, young men, flower sellers, and harlequins. It is said that the harlequin was a strong theme in Büchner’s work because he recognized them as symbols of every person, with something to hide from the outside world.