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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<strong>Hans</strong> <strong>E<strong>de</strong>r</strong> nu este un poet al naturii,<br />
pentru care aceasta să se întrupeze în<br />
forme <strong>de</strong> un lirism <strong>de</strong>licat; „armoniile”<br />
pe care artistul le foloseşte sunt energic<br />
aşezate în tuşe aspre, încordate, în<br />
care pulsează o forţă răscolitoare, ce îşi<br />
trage seva din „prezenţa” (subînţeleasă<br />
şi mereu dramatică), marelui absent al<br />
acestor lucrări: omul. cu doi ani mai<br />
<strong>de</strong>vreme, <strong>Hans</strong> <strong>E<strong>de</strong>r</strong> mai lucrase un<br />
Peisaj (1925) 24 , într-o manieră foarte<br />
asemănătoare, simplificarea formelor<br />
dusă până în pragul disoluţiei şi folosirea<br />
în exclusivitate a culorii ca mijloc<br />
<strong>de</strong> exprimare plastică, fiind aici chiar<br />
mai pronunţate. Nimic nu opune rezistenţă<br />
mişcării ample a pensulei,<br />
curgerii pastei onctuoase care încremeneşte<br />
ca lava ce se răceşte treptat.<br />
Motivul natural rămâne <strong>de</strong>parte <strong>de</strong><br />
reprezentare, pământ, Apă şi cer (nefiresc,<br />
alcătuit mai <strong>de</strong>grabă din materie<br />
terestră <strong>de</strong>cât celestă!), sunt structuri<br />
asemănătoare, doar materie proaspăt<br />
încremenită, ireale ca forme şi cromatică,<br />
cu graniţe incerte şi inutile. E aici<br />
o tensiune ţinută în frâu sub aparenţa<br />
unui calm şi echilibru (auto)impuse.<br />
cu cât liniştea este mai puternic impusă,<br />
cu atât atmosfera se electrizează, în<br />
ciuda efortului <strong>de</strong> obiectivizare a imaginii.<br />
Sunt implicate în această abordare<br />
conceptele <strong>de</strong> bază ale avangar<strong>de</strong>i:<br />
forţă, voinţă, tensiune, în acea stare <strong>de</strong><br />
spirit simptomatice în epocă, loc <strong>de</strong> întâlnire<br />
între social, individual şi estetic.<br />
„A fi viu înseamnă a fi în stare <strong>de</strong> tensiune”<br />
spunea August Macke câţiva ani<br />
mai <strong>de</strong>vreme. 25<br />
Sunt opere care <strong>de</strong>monstrează <strong>de</strong>plina<br />
maturizare a concepţiei şi mijloa-<br />
<strong>de</strong>ne Farbtöne abgegerenzt. Das aufwühlen<strong>de</strong><br />
Blau <strong>de</strong>s Meeres zeigt unter<br />
<strong>de</strong>r scheinbar ruhigen oberfläche sein<br />
ewig beunruhigtes Wesen. Es han<strong>de</strong>lt<br />
sich um eine Art metaphysische Suche<br />
nach <strong>de</strong>m <strong>de</strong>m Bleiben<strong>de</strong>n, <strong>de</strong>r Essenz,<br />
<strong>de</strong>r ewig währen<strong>de</strong>n Werte. Die saftige<br />
Farbe <strong>de</strong>s Kaktus steht im Gegensatz zu<br />
<strong>de</strong>r Kahlheit <strong>de</strong>r Landschaft; er ist das<br />
einzige lebendige Element außer <strong>de</strong>m<br />
Eselchen, das „wie aus plüsch” 23 wirkt.<br />
Bei<strong>de</strong>s wirkt wie eine ironische Anspielung<br />
auf die leben<strong>de</strong> Natur. Die pflanze<br />
erscheint als träger einer untergründig<br />
menschlichen Be<strong>de</strong>utung: obwohl diese<br />
Dürre seine natürliche Lebenswelt<br />
sein sollte, wird <strong>de</strong>r Kaktus in dieser lebensfeindlichen<br />
Umgebung zum Symbol<br />
<strong>de</strong>s Großstadtmenschen, <strong>de</strong>r an <strong>de</strong>r<br />
von ihm mit Absicht geschaffenen Welt<br />
lei<strong>de</strong>t. Das Boot auf <strong>de</strong>m Meer, an surrealistische<br />
Darstellungen gemahnend, ist<br />
eine Erinnerung (o<strong>de</strong>r bittere ironie) an<br />
die idyllischen Seelandschaften vergangener<br />
zeiten.<br />
<strong>Hans</strong> <strong>E<strong>de</strong>r</strong> ist kein Dichter, <strong>de</strong>m sich<br />
die Natur in zarten, lyrischen Formen<br />
verkörpert; die vom Künstler eingesetzten<br />
„Harmonien” sind energische Darstellungen<br />
mit sprö<strong>de</strong>n pinselstrichen,<br />
in <strong>de</strong>nen eine aufwühlen<strong>de</strong> Kraft pulsiert,<br />
genährt aus <strong>de</strong>r unterschwelligen<br />
und immer dramatischen präsenz <strong>de</strong>s<br />
großen Abwesen<strong>de</strong>n dieser Bil<strong>de</strong>r: <strong>de</strong>r<br />
Mensch. zwei Jahre früher hatte <strong>E<strong>de</strong>r</strong><br />
in sehr ähnlicher Manier ebenfalls eine<br />
Landschaft (1925) 24 gemalt, wobei da<br />
die vereinfachung <strong>de</strong>r Formen bis zu ihrer<br />
Auflösung und die alleinige verwendung<br />
<strong>de</strong>r Farbe zur räumlichen Gestaltung<br />
noch ausgeprägter waren. Nichts<br />
brush strokes and the flow of the<br />
unctuous paint which thickens like<br />
cooling lava. the motifs remain far<br />
from representation: Earth, Water and<br />
Sky (unnatural, more terrestrial than<br />
celestial!), are similar structures, not<br />
just thickened matter; their shapes and<br />
colours are unreal, barely <strong>de</strong>fined. the<br />
tension here is harnessed un<strong>de</strong>r the<br />
surface of a (self)imposed calmness.<br />
Despite the attempt to objectify the<br />
image, the atmosphere becomes<br />
electric. the fundamental concepts of<br />
the Avangar<strong>de</strong>: force, will and tension,<br />
are involved in this approach, in that<br />
state of mind which is symptomatic<br />
for that time, in a place where social,<br />
individual and aesthetics meet. “to<br />
be alive is to be in a state of tension”,<br />
August Macke had written only years<br />
earlier 25 .<br />
these are creations which <strong>de</strong> -<br />
monstrate the full maturity of <strong>Hans</strong><br />
<strong>E<strong>de</strong>r</strong>’s conception and means of<br />
expression. A series of elements<br />
belonging to the properties of the<br />
Expressionists appear in most of the<br />
pictures he painted in this period of<br />
time. Still, it is in his nature to set the<br />
limits between his work and “pure<br />
expressionism.”<br />
the representation of nu<strong>de</strong>s in an<br />
immaculate “Arcadia”, in an environment<br />
which has not been tainted by<br />
industrialization, a favourite Expressionist<br />
theme, does not concern <strong>E<strong>de</strong>r</strong>.<br />
in fact, <strong>E<strong>de</strong>r</strong> does not concern himself<br />
with the theme of reconciliation between<br />
man and nature at all; bringing<br />
man at peace with himself, bringing<br />
healing and reconciliation to all, are