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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contactul vizual cu privitorul şi a-l face<br />
părtaş la subiectul lucrării). De fapt întâlnirea<br />
cu trăsăturile groteşti ale acestui<br />
personaj, sunt un prim şoc şi o „cheie”<br />
a întregii lucrări, căci nu e o piaţă veselă,<br />
cum ar părea la o primă impresie,<br />
ci mai ales datorită expresiilor trasate<br />
sumar, dar <strong>de</strong>osebit <strong>de</strong> sugestiv, aici<br />
se <strong>de</strong>zvăluie o lume crispată, obosită<br />
şi încovoiată <strong>de</strong> lupta pentru supravieţuire.<br />
Aparenţa veselă indusă cromatic,<br />
contrastează cu figurile caricaturalagresive,<br />
cu sugestiile <strong>de</strong> sărăcie (haine<br />
scoase parcă „<strong>de</strong> la naftalină”, oameni<br />
cocoşaţi, un bărbat cu picior <strong>de</strong> lemn,<br />
copilul obosit, sau căţelul <strong>de</strong> stradă) şi<br />
tendinţa <strong>de</strong> masificare a personajelor<br />
numeroase şi înghesuite. Este acea<br />
lume, din lucrările artiştilor avangar<strong>de</strong>i,<br />
caracterizată <strong>de</strong> Rosario Assunto<br />
ca: „a<strong>de</strong>vărată masă umană comparabilă<br />
cu o armată înfrântă”, oameni care<br />
trăiesc într-o lume <strong>de</strong>rizorie, „<strong>de</strong>parte<br />
<strong>de</strong> natura care-i înconjoară, nu mai<br />
puţin <strong>de</strong>cât <strong>de</strong> aceea din lăuntrul lor”,<br />
„fiinţe reduse treptat la un complex <strong>de</strong><br />
reflexe, lipsite <strong>de</strong> impulsuri individuale<br />
şi <strong>de</strong> ţeluri autonome”. 6 În felul acesta<br />
nota socială, vehement protestatară,<br />
a unor lucrări expresioniste, este aici<br />
inclusă în contextul organicităţii operei<br />
<strong>de</strong> artă. Este interesant <strong>de</strong> observat<br />
felul în care artistul refuză orice posibilă<br />
filiaţie cu celebrele scene <strong>de</strong> gen<br />
ale şcolii flamando-olan<strong>de</strong>ze. puternic<br />
narative, vesele sau moralizatoare, pline<br />
<strong>de</strong> mişcare, acestea nu se regăsesc<br />
în scena împietrită, ca <strong>de</strong> cadru îngheţat,<br />
care se impune ca o ignorare sau<br />
chiar sfidare a tradiţiei, a truculenţei<br />
şi dinamismului vechii scene <strong>de</strong> gen.<br />
<strong>de</strong>rnis abgeschlossen wird. Durch diese<br />
Bildkomposition wird <strong>de</strong>r Effekt eines<br />
eingeengten Raumes erreicht, die Stadt<br />
scheint vergessen, alt und verfallen. Die<br />
liniar konzipierte perspektive wird durch<br />
eine farblich geschaffene perspektive<br />
ergänzt, die das Aufsteigen zum Hintergrund<br />
hin unterstreicht. Die Farben <strong>de</strong>r<br />
Häuser reflektieren sich in pastelltönen<br />
im Straßenpflaster, was <strong>de</strong>n Eindruck <strong>de</strong>r<br />
feuchten Atmosphäre dieses „venedig<br />
<strong>de</strong>s Nor<strong>de</strong>ns” betont. Grau-grünliche,<br />
ocker-grünliche und grüne Nuancen<br />
fügen sich mit roten Akzenten zu einem<br />
wogen<strong>de</strong>n Rhythmus. Die streng vorgegebene<br />
Fluchtlinie wird von <strong>de</strong>n Kreisformen<br />
<strong>de</strong>r in die tiefe hin gereihten<br />
Händlerkörbe, die <strong>de</strong>n Richtungsvektor<br />
abschwächen, umrahmt. Das Spiel <strong>de</strong>r<br />
Formen – gera<strong>de</strong> und geschwungene,<br />
Fülle und Leere – und jenes <strong>de</strong>r Farben,<br />
verleiht <strong>de</strong>r Struktur Strenge. Durch diesen<br />
meisterhaften Aufbau wird <strong>de</strong>r Blick<br />
von <strong>de</strong>n perspektivischen Diagonalen<br />
zum Hintergrund hin gelenkt, gleichzeitig<br />
aber durch die Anhäufung kreisförmiger<br />
Gegenstän<strong>de</strong> (Fischkörbe) und<br />
<strong>de</strong>ren farbliche Leuchtkraft aufgehalten,<br />
um danach sanft aber entschie<strong>de</strong>n<br />
weitergeführt zu wer<strong>de</strong>n. Dadurch ist<br />
<strong>de</strong>r Betrachter gezwungen, die subtile<br />
Botschaft <strong>de</strong>r wie<strong>de</strong>rholten Aufnahme<br />
von Formen und Farben zu „lesen”. Dieselbe<br />
Rolle scheint auch <strong>de</strong>r farblich und<br />
zeichnerisch ausdrucksstark gestalteten<br />
Frau im vor<strong>de</strong>rgrund zuzufallen, die uns<br />
in das Straßengeschehen von Brügge<br />
hineinnimmt. (ein Kunstgriff, <strong>de</strong>n die<br />
traditionelle Kunst benützt, um <strong>de</strong>n<br />
Blickkontakt mit <strong>de</strong>m Betrachter herzustellen<br />
und ihn am thema <strong>de</strong>r Arbeit<br />
induces the impression of a suffocated<br />
space, of an old, forgotten and <strong>de</strong>relict<br />
town. the linear perspective is doubled<br />
by a chromatic one which emphasizes<br />
its ascension in the background. the<br />
colours of the houses, reflected in<br />
the pavement of the street, giving it<br />
pastel hues, enhance the feeling of<br />
dampness of this “venice of the North”.<br />
the firm line is accompanied by the<br />
circular shapes of the merchants’<br />
baskets in the background, which<br />
attenuate the guiding vector. A play<br />
of shapes – straight lines, curves,<br />
filled and empty spaces – doubled<br />
by the play of colours give the entire<br />
composition a firm rhythm.the eye<br />
is gui<strong>de</strong>d towards the background<br />
by the diagonals, but simultaneously<br />
stopped in the foreground by the<br />
crow<strong>de</strong>d circles (the fish baskets) and<br />
their chromatic luminousity (a subtle<br />
compositional dodge) only to be led<br />
again gently, but steadily, and ma<strong>de</strong><br />
to “read” the subtle messages of the<br />
shapes and of the colours in their<br />
irregular repetition. the woman in the<br />
foreground is inten<strong>de</strong>d to draw the eye<br />
towards what happens in the street<br />
(expedient used in traditional art in<br />
or<strong>de</strong>r to establish eye contact with the<br />
onlooker and in or<strong>de</strong>r to turn him into<br />
a participator). in fact, her grotesque<br />
features cause a first impact, and are<br />
a “key” of the composition: the market<br />
is not a cheerful place, on the contrary,<br />
it reveals a world which is cramped,<br />
tired and bent in the fight for survival.<br />
to all appearances, the colours induce<br />
cheerfulness; but this contrasts with<br />
the caricatural-aggressive figures,