Early Life, Family and Training

Elisabeth Karlinsky was born on May 19, 1904, in Kasten, Lower Austria. She grew up in an environment where art was a constant presence, as her father, Anton Karlinsky, was an established landscape painter. This familial connection likely helped shape her early understanding of visual expression before she began her formal studies.

In 1921, she entered the Vienna School of Applied Arts, a period of intense and diverse learning that would define her technical capabilities. Her education was broad and rigorous, covering everything from General Form Theory to the intricacies of Ornamentation and Heraldry. She spent her days mastering Life Drawing and the precision required for Writing, ensuring a well-rounded foundation in both the fine and applied arts.

Her training was guided by several notable teachers, including Franz Čižek, Rosalia Rothansl, Rudolf von Larisch, Victor Schufinsky, and Bertold Löffler. Through their instruction, she developed specialized skills in various disciplines. She became proficient in Textile Work and explored the delicate complexities of Glass Painting and Leading. This diverse training allowed her to move fluidly between different mediums and techniques throughout her life.

Career in Austria and Paris

By the mid-1920s, Karlinsky was establishing herself within the creative circles of Vienna. Her talent for design led to her participation in the 1925 international art exhibition in Paris, an experience that would shape her perspective. This connection to the French capital deepened in 1926, when she undertook her first study trip to the city. These years were marked by a fascination with how light and form interact, particularly through the medium of glass.

Her technical skill in glasswork was recognized in 1926 when she received the Lobmeyr Prize. This honor was awarded for her "kinetic" stained glass windows, works that played with movement and light in ways that were quite modern for the time. Beyond her individual studio work, she was deeply involved in the collaborative spirit of the era. She became a member of the Officina Vindobonensis, a printing workshop founded by Robert Haas and Carry Hauser, where she contributed to the growing intersection of fine art and graphic design.

Teaching and Life in New York

In 1928, Elisabeth Karlinsky’s professional path led her to Salzburg, where she took up a teaching position at the Elizabeth Duncan School in Schloss Kleßheim. She served as a substitute for Erika Giovanna Klien, bringing her technical expertise to the students in the Austrian landscape. This period of instruction was a brief chapter before she moved across the Atlantic to begin a new chapter in the United States.

Her arrival in New York brought a shift toward more formal academic roles. She held a professorship at the Walden School until 1930, sharing her knowledge of form and design in the bustling American city. During these years, she was active in the local art scene, participating in exhibitions organized by the Civic Clubs. Her work from this era often captured the specific energy of the city, including sketches of neon signs, utility poles, and the silhouettes of buildings.

Beyond the classroom and the gallery, Karlinsky applied her design sensibilities to the commercial world of Manhattan. She worked on window displays for major department stores, including Macy’s and Gimbel’s. These projects required a practical understanding of space and visual arrangement, bridging the gap between fine art and the everyday life of the city's shoppers.

Life in Denmark and Later Years

In 1931, Elisabeth Karlinsky moved to Copenhagen, a transition that marked a significant chapter in her life. It was there that she married the poet and painter Hans Scherfig. This move settled her in Denmark, where she would remain for the rest of her life, continuing her work as a painter, graphic artist, and illustrator.

Her presence in the Danish art scene became more established through her regular involvement with the artist association Corner, participating in their exhibitions starting around 1935 or 1936. Her creative output remained steady, and in 1953, she was tasked with creating the decoration for the World Women's Congress held in Copenhagen. This period of her life reflected a continued engagement with both visual art and the broader cultural fabric of her adopted home.

Elisabeth Karlinsky lived until 1994. She passed away on October 13 in Græsted, Denmark.