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He belonged to the circle of artists around Count Karol Lanckoroński. During the World Exhibition of 1873, he met the French sculptor Gustave Deloye, who strongly influenced his work.[3] The following year, he took a trip to Italy with Hans Makart, whose "realistic academicism" also influenced Tilgner's style. For the last twenty years of his life, he had a large studio in what was originally a greenhouse at the Palais Schwarzenberg[4]
Despite a long-standing heart condition and recurring chest pain, he spent a strenuous day working on his Mozart monument, to get it ready on schedule.[4] He died of a heart attack the next morning. Often considered to be his greatest work, the monument was unveiled a few days after his death. The bulk of his estate was bequeathed to his hometown and is now on display at the Bratislava City Gallery.
Gerhardt Kapner: Ringstraßendenkmäler. In: Renate Wagner-Rieger, Die Wiener Ringstraße. Bild einer Epoche. Die Erweiterung der Inneren Stadt Wien unter Kaiser Franz Joseph. Vol.9,1. Steiner, Wiesbaden 1973,
Maria Pötzl-Malikova: Die Plastik der Ringstraße. Künstlerische Entwicklung 1890–1918. In: Renate Wagner-Rieger, Die Wiener Ringstraße. Bild einer Epoche. Die Erweiterung der Inneren Stadt Wien unter Kaiser Franz Joseph. Vol.9,2. Steiner, Wiesbaden 1976, ISBN3-515-02391-7.
Walter Krause: Die Plastik der Ringstraße von der Spätromantik bis zur Wende um 1900. In: Renate Wagner-Rieger: Die Wiener Ringstraße. Bild einer Epoche. Die Erweiterung der Inneren Stadt Wien unter Kaiser Franz Joseph. Vol.9,3. Steiner, Wiesbaden 1980, ISBN3-515-03288-6.
Contribution by Walter Krause in: Jane Turner: The Dictionary of Art. Vol.30: Summonte to Tinne. Grove, New York 1996, ISBN1-884446-00-0, pgs.888–890.
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