Catalog Hans Eder PDF - Muzeul de Arta Brasov
Catalog Hans Eder PDF - Muzeul de Arta Brasov
Catalog Hans Eder PDF - Muzeul de Arta Brasov
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vârşirea artistică, pictorul îşi va controla<br />
tot mai strict mijloacele formale, investindu-le<br />
cu o specială expresivitate.<br />
Această tendinţă <strong>de</strong> esenţializare, va<br />
duce în peisagistica lui <strong>E<strong>de</strong>r</strong> la <strong>de</strong>păşirea<br />
concretului, la valorificarea unui<br />
„dinamism creator”, resimţit în special<br />
la nivel conceptual şi emoţional, dar<br />
şi la acela al mijloacelor <strong>de</strong> expresie.<br />
creaţia peisagistică a lui <strong>Hans</strong> <strong>E<strong>de</strong>r</strong> va<br />
marca o ruptură şi o etapă nouă, în<br />
evoluţia lină, lipsită <strong>de</strong> tentaţii sau excese<br />
a peisajului transilvănean.<br />
citadin, braşovean, născut şi educat<br />
într-un mediu intelectual, personalitatea<br />
lui <strong>E<strong>de</strong>r</strong> nu cuprin<strong>de</strong> ceea ce în<br />
general se numeşte „chemarea naturii”,<br />
nevoia <strong>de</strong> a evada în natură. opţiunea<br />
sa pentru oraş şi problematica sa este,<br />
în felul acesta, cumva apriorică. El nu va<br />
împărtăşi setea <strong>de</strong> refugiu din mediul<br />
industrializat, în natura vin<strong>de</strong>cătoare.<br />
cu toate acestea, un prim peisaj din creaţia<br />
sa este: Peisaj <strong>de</strong> pe Valea Inn-ului,<br />
din 1902. Nu se cunosc multe dintre<br />
lucrările din perioada 1903 (plecarea<br />
la studii la München) şi 1910 (plecarea<br />
la Bruges), dar această primă încercare<br />
peisagistică stă încă sub semnul impresionismului,<br />
probabil exersat <strong>de</strong> pictor<br />
cvasi-experimental, dacă avem în ve<strong>de</strong>re<br />
coordonatele <strong>de</strong> ansamblu ale creaţiei<br />
sale viitoare. parcurgând <strong>de</strong>scrierea<br />
acestei lucrări, ar fi greu să-l recunoaştem<br />
pe <strong>E<strong>de</strong>r</strong>, cel din operele viitoare,<br />
care l-au consacrat în pictura locală şi<br />
europeană: „tonuri pastelate”, „explozia<br />
florilor <strong>de</strong> măr”, „şerpuirea domoală a<br />
apei”, „adâncimea orizontului”. 2<br />
o lucrare <strong>de</strong> tinereţe: Peisaj din<br />
Franţa (cca. 1908) 3 , păstrată la muzeul<br />
schaftsbil<strong>de</strong>r be<strong>de</strong>uten einen Bruch<br />
und <strong>de</strong>n Beginn einer neuen Etappe in<br />
<strong>de</strong>r bis dahin gleichmäßig, ohne Höhen<br />
und tiefen dahinfließen<strong>de</strong>n siebenbürgischen<br />
Landschaftsmalerei.<br />
Als Städter – Kronstädter, <strong>de</strong>r in eine<br />
intellektuelle Umwelt hinein geboren<br />
und da erzogen wur<strong>de</strong>, gehört <strong>de</strong>r so<br />
genannte „Ruf <strong>de</strong>r Natur”, <strong>de</strong>r Drang<br />
hinaus zu ziehen, sicher nicht zu <strong>E<strong>de</strong>r</strong>s<br />
persönlichkeitsbild. Seine option für<br />
die Stadt und ihre problematik ist also<br />
von vornherein gegeben. Er teilt auch<br />
späterhin nicht die Sehnsucht an<strong>de</strong>rer<br />
nach Flucht aus <strong>de</strong>r industriewelt in die<br />
heilen<strong>de</strong> Natur. Er sucht seine Antworten<br />
im Umfeld <strong>de</strong>r Stadt, in <strong>de</strong>r ihm vertrauten<br />
urbanen Umgebung. trotz<strong>de</strong>m<br />
zeigt eines seiner ersten Landschaftsbil<strong>de</strong>r<br />
das inntal (Motiv aus <strong>de</strong>m Inntal,<br />
1902). Aus <strong>de</strong>r zeit zwischen <strong>de</strong>n Jahren<br />
1903 (Abfahrt zum Studium nach München)<br />
und 1910 (Reise nach Brügge) sind<br />
nicht viele Bil<strong>de</strong>r bekannt, aber dieser<br />
erste versuch, eine Landschaft zu malen,<br />
steht noch im zeichen <strong>de</strong>s impressionismus,<br />
und wur<strong>de</strong> vom Maler wohl<br />
experimentell ausgeführt, wenn wir uns<br />
sein weiteres Schaffen insgesamt vor<br />
Augen halten. Wenn wir die Beschreibung<br />
dieses Bil<strong>de</strong>s durchgehen, fällt es<br />
uns schwer, darin <strong>de</strong>n <strong>E<strong>de</strong>r</strong> wie<strong>de</strong>r zu<br />
erkennen, <strong>de</strong>ssen spätere Werke ihren<br />
platz in <strong>de</strong>r siebenbürgischen und europäischen<br />
Malerei behauptet haben:<br />
„pastelltöne”, „eine Explosion von Apfelblüten”,<br />
„das gemächliche Schlängeln<br />
<strong>de</strong>s Flusses”, „in <strong>de</strong>r tiefe <strong>de</strong>r Horizont”. 2<br />
Eine Jugendarbeit mit <strong>de</strong>m titel<br />
Landschaftsbild in Frankreich (um 1908) 3 ,<br />
das sich heute im Siebenbürgischen<br />
mark a discontinuance and a new stage<br />
in the calm evolution of transylvanian<br />
landscape painting, unimpaired by<br />
temptations and superfluity.<br />
Born and educated in Braşov in an<br />
intellectual milieu, <strong>E<strong>de</strong>r</strong> did not feel<br />
the “call of the wild”, the need to find<br />
refuge and consolation in nature.<br />
thus, his bias in favour of the city and<br />
its problems is, somewhat, aprioristic.<br />
He never broke loose from the city,<br />
because he never pined after nature’s<br />
capacity of healing. Yet, in 1902, he<br />
painted his first landscape, Landscape<br />
of the Inn Valley. We do not know much<br />
about the pictures he painted between<br />
1903 (when he went to Munich to<br />
study) and 1910 (when he went to<br />
Bruges), but this first attempt to paint<br />
a landscape reveals that he was still<br />
un<strong>de</strong>r the influence of impressionism,<br />
which he approached experimentally,<br />
if we take into consi<strong>de</strong>ration the<br />
coordinates of his future creation.<br />
When <strong>de</strong>scribing this landscape, we<br />
find it rather difficult to recognize him<br />
in his future creations, which brought<br />
him local and European recognition:<br />
“pastel hues”, the “explosion of apple<br />
blossom”, the “slow mean<strong>de</strong>r of the<br />
water”, the “<strong>de</strong>pth of the horizon” 2 .<br />
A picture he painted in his early<br />
years: Landscape of France (approx.<br />
1908) 3 , today in the Gun<strong>de</strong>lsheim<br />
Museum, still bears a traditional touch,<br />
a figurative, in which the <strong>de</strong>tails are<br />
sacrificed in favour of the whole of the<br />
image. the chromatic preserves that<br />
local colour, the image of nature has<br />
a certain conventionality, but there is<br />
a poetic air about it, too. Already the