Krajina v tvorbě umělců Olomouckého kraje - Olomoucký kraj

Václav TrefilŠTĚRKOVNA ZA ŘEKOU / Gravelpit across the RiverKriesgrube jenseits des Flusses1930?olej, dřevo / oil on wood / Öl auf Holz20 x 24 cms. m. / p. o. / p.Kurt GrögerŠTERNBERSKÁ KRAJINA / šternberk LandscapeSternbergLandschaft1934olej, plátno / oil on canvas / Öl auf Leinwand46 x 55 cmMUOcolour inflammation, which in the context of landscapepaintings from Selesia took shape not disimilar tothe aesthetic colour formations of Paul Cézanne.Kurt Gröger and Oskar Kokoschka from the town ofŠternberk not far from Olomouc were encouraged bythe french intimism form of painting which heavilytook it’s hold of the art scene during the mid-thirtiesjust to give a further example of foreign albeit felloweuropean influences in the Czechlands leading up tothe 2nd major war of the century. Dvorský’s interiorscenes point out these inflences nicely with flowerpieces, pastel works, distinguishing rich Vuillardiancolour chromatics with landscapes bursting with redvermilion, swathes of yellow-orange accompanied bygreen and blue tones brought to the audience in anoutsplade panoramic composition reflecting scenes ofthe Hana region. This era of landscape painting in theHana region leading into the 1940’s celebrated a vitalityand pure energetic freshness thus creating nothingshort of a phenomena in Czech painting.The youngest artist during these 3rd and 4th decadesmaking the biggest impact in the SOV scene is noother than Stanislav Menšík, whose paintings takingin scenes from the Jeseníky mountains continue intothe postwar era.Powerful haunting scenes from the Jeseníky deepforests present bizarre shapes and compositions courtesyof Durych’s friend the theology graduate ArnoštHrabal. Scenes show an intricate symphony of clashingforces of nature with intricacies pushing the frameof the canvases. The imagination of this Vienneseeducated artist bringing the magic of nature to theforefront also didn’t neglect scenes from Třebovickýchateux when looking back at the 1920’s. Spiritualmotifs rooted from tree layers draw in the audiencethrough pure human means sensitive to harmonyaccompanied with baladic overtones.Psychic exasperation in hitting walls when fightingsolitude and the hard picture of reality confronts uscourtesy of our second symbolist generation formingthe SURSUM group. Hrabal’s graphic work never lostit’s subjective and baladic force bringing to mind the20 page selection of his work under the title Forestcomposed in 1926 found in the collection destitutemonumental german pantheism expressed inhuman clothing (V. Jůza). We can thank Hrabal’s graphicworks and illustration pieces for bring a modernunderstanding to the audience with regards to displayingscenes from Czech nature.Hrabal’s Forest piece portrays the destination of theJeseníky peoples with the german accompanied textswhere the ethnicity predominated the 1930’s culturalsphere. Looking on to an older realisation of landscapesencapturing Jeseníky scenes, we are broughtto the works of Erich Hürden, settling in the mountainvillage of Karlova Studánka in order to immerseoneself onto the stage of seasonal colour and atmosphereabundance. Unfortunately the interior of hotelHubertus, under the project name of art installation„Gesamtkunstwerk“ never came to completion. Thiscentre piece took it’s role in a scene of hunting loungeswithin a household of painted ancient wood and22KR AJINA V TVORBĚ UMĚLCŮ OLOMOUCKÉHO KRAJE