Krajina v tvorbě umělců Olomouckého kraje - Olomoucký kraj

Jindřich LenhartJindřich Lenhart (6. 4. 1878 Vídeň – 14. 9.1955 Olomouc, Svatý Kopeček), comes froma family working for the railways where afterthe death of his father, had a meagre existence.Lenhart learned the trade of craftsmanwhich worked in nicely with his person area ofinterest and talent. Vienna opened a chapter ofhis life after finishing his studies continuing toemployment there following on to Prague. Thisdidn’t deter him from continuing his art in theform of evening painting lessons. In the year1902 painted coulisses for the Velky Týnecamateur dramatics theatre before taking onfurther commissions in Litovel and Olomouceventually setting up a practice lettering anddecorating. With local artists and professors K.Wellner and J. Havlíček Lenhart started makingwaves with painting to the extent of penetratingthe german artist forum under the false identityof Ehler where in 1902 he was found out. 1910was the year the same trick was tried whilstattempting to represent work at Olomouc regionVII. Hodonín’s SVUM, under the name ofJindřich Havlas. This was due to the fact thathe had in the past been turned down due to hisdecorating background not fitting the clique. Itwasn’t until 1923 when he eventually succeededin entering Fine artist’s group of the northernCzech region (from 1929 name changedto SVU Prague), giving him the opportunity tofinally penetrate the Olomouc art scene. Nowwe enter World War I when, serving on theItalian front as an officer, Lenhart neverthelesswas able to complete a range of impressiveoils and drawings.The Cordenon regionwas, under his brush, treated with soft tonesof blue-green and red in a style warmly received.After the war ended, the artist was determinedto continue painting in the direction ofKalvoda’s inspiration later to be influenced bythe work of Ant. Slavíčka, A. Mervarta anda number of other artists. J. Andre, his manageraccompanied Lenhart around the year1925 to Paris and got involved with the art scenethere, especially concerning the works ofM. Utrilla and later Vlaminckova’s. After returning,a key moment started in the year 1927when the artist settled in Poličky and paintedwith V. Trefil, B. Žufan and B. Dvorský. The followingyear he handed over his business to hisson and emersed himself totally into his paintingcareer. Derain’s monography from 1931 aswell as further works from Vlastimil Rada, WilliNowak and Pierre Bonnard were subject matterfor Lenhart in his style of contemplation andcarefull study not devoid of course from cubistelements.To conclude this passage, it goes to say thatLenhart’s engagement in painting was able toside-step the traditionalist mood of the time ofthe Hana region and rather draw friut from thescene in Western Europe.64