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>de</strong> aceste obiecte <strong>de</strong>rizorii (o cană, o<br />
floare, un pahar, o carte, un tablou),<br />
dar graniţa dintre lumi pare insurmontabilă.<br />
Lumea interioară, fie ea psihică<br />
şi intimă, fie înglobând şi universul<br />
material din proximitate, se compune<br />
din lucruri care îi sunt dragi, familiare,<br />
care nu-l agresează, pe care le acceptă<br />
firesc ilustrate. Lumea exterioară: ceilalţi,<br />
oraşul, ,,lumea ca lume”, este acea<br />
parte a lucrării ce cuprin<strong>de</strong> peisajul, <strong>de</strong><br />
obicei cel citadin al Braşovului natal.<br />
ca şi în alte peisaje, <strong>E<strong>de</strong>r</strong> are o viziune<br />
personală, căci Braşovul nu e văzut/redat<br />
ca spaţiul citadin familiar, pitoresc,<br />
privit cu nostalgie. Nu e nici oraşul istoric,<br />
pitoresc, cu monumente ce l-au<br />
făcut celebru, ci e un spaţiu golit <strong>de</strong><br />
viaţă şi <strong>de</strong> bucurie, un loc rămas pustiu,<br />
abandonat, <strong>de</strong> care artistul se simte<br />
<strong>de</strong>parte. Este un oraş din care şi natura<br />
a fost complet alungată, <strong>de</strong> aceea<br />
singurele elemente <strong>de</strong> natură, se află<br />
în casă (flori, fructe). <strong>E<strong>de</strong>r</strong> nu foloseşte<br />
valenţele arhitecturii gotice în peisajele<br />
din Braşov, cu a lor forţă expresivă,<br />
valorificată <strong>de</strong> unii pictori ai expresionismului,<br />
în ale căror peisaje citadine<br />
apar dominante turnurile supradimensionate<br />
sau <strong>de</strong>formate ale catedralelor<br />
gotice. 44 pentru el clădirile din piaţa<br />
Sfatului sau <strong>de</strong> pe străzile Braşovului<br />
sunt înghesuite, greoaie, inexpresive.<br />
precizăm aici că această atitudine a lui<br />
<strong>E<strong>de</strong>r</strong> se manifestă în condiţiile în care<br />
oraşul transilvănean în general, Braşovul<br />
inclusiv, nu trecuseră prin acele<br />
transformări ale centrelor urbane mari<br />
ale Europei industrializate, cerute <strong>de</strong><br />
mo<strong>de</strong>rnizarea, ce se manifesta în secolul<br />
al xix-lea, mai ales prin <strong>de</strong>molări<br />
zwischen zwei Welten gewertet wird.<br />
Dazu gehören einige <strong>de</strong>r bekanntesten<br />
Bil<strong>de</strong>r <strong>de</strong>s Meisters: Stilleben mit Kaktus 38 ,<br />
Stilleben am Fenster 39 , Stilleben mit Chrysanthemen<br />
40 , Stilleben mit Kronstädter<br />
Ansicht 41 , Stilleben mit Landschaft 42 ,<br />
Stilleben mit Äpfeln 43 . in diesen Arbeiten<br />
wer<strong>de</strong>n die zwei Räume (reelle o<strong>de</strong>r<br />
virtuelle) von zufälligen Gegenstän<strong>de</strong>n<br />
(eine Kanne, eine Blume, ein Becher, ein<br />
Buch, ein Bild) voneinan<strong>de</strong>r geschie<strong>de</strong>n,<br />
wobei die Abgrenzung unüberwindlich<br />
scheint. Die innere Welt, ob psyche o<strong>de</strong>r<br />
privater Raum, <strong>de</strong>r die unmittelbare<br />
Umgebung einschließt, setzt sich aus<br />
lieb gewonnenen, unaufdringlichen<br />
Dingen zusammen. Die äußere Welt: die<br />
An<strong>de</strong>ren, die Stadt, „die Welt als Welt”, ist<br />
jener teil <strong>de</strong>s Bil<strong>de</strong>s, <strong>de</strong>r die Landschaft<br />
darstellt, meist eine Ansicht von <strong>E<strong>de</strong>r</strong>s<br />
Heimatstadt Kronstadt. Er pflegt aber<br />
auch hier eine ganz persönliche Sicht,<br />
<strong>de</strong>nn Kronstadt wird nicht als malerischer,<br />
wohlbekannter städtischer Raum<br />
gesehen und dargestellt. Auch nicht als<br />
die Altstadt, <strong>de</strong>ren Bau<strong>de</strong>nkmäler sie<br />
berühmt gemacht haben, son<strong>de</strong>rn son<strong>de</strong>rn<br />
als ein leb- und freudloser Raum,<br />
leer, verlassen, <strong>de</strong>m Künstler fremd gewor<strong>de</strong>n.<br />
Es ist eine Stadt, aus <strong>de</strong>r die<br />
Natur verbannt wur<strong>de</strong>, so dass sich die<br />
einzigen Naturelemente im Haus befin<strong>de</strong>n<br />
(Blumen, obst). <strong>E<strong>de</strong>r</strong> schöpft in<br />
seinen Kronstadt-Bil<strong>de</strong>rn die Möglichkeiten<br />
<strong>de</strong>r gotischen Bauten nicht aus,<br />
<strong>de</strong>ren Ausdruckskraft wie<strong>de</strong>rum einige<br />
expressionistische Maler in ihren Stadtansichten<br />
als übergroße o<strong>de</strong>r seltsam<br />
verformte türme gotischer Kirchen verwertet<br />
haben. 44 Für ihn sind die Gebäu<strong>de</strong><br />
<strong>de</strong>r Altstadt gedrängt, schwerfällig,<br />
a glass, a book, a painting), but the<br />
limits seem insurmountable. His inner<br />
world is ma<strong>de</strong> up of familiar, friendly<br />
things. the world outsi<strong>de</strong>: the city, the<br />
world itself, is the landscape, usually<br />
of Braşov, his native town. Here too,<br />
<strong>E<strong>de</strong>r</strong> has an original vision: Braşov is<br />
not the familiar, picturesque place,<br />
he looks at with nostalgic eyes; it is<br />
an empty space, without life and joy,<br />
abandoned and distant. Nature has<br />
completely been banned from the<br />
city: the only elements can be found<br />
indoors: flowers, fruit. <strong>E<strong>de</strong>r</strong> never<br />
uses the values of gothic architecture<br />
in the cityscapes of Braşov; its<br />
expressiveness has been employed<br />
by Expressionsts who inclu<strong>de</strong> the<br />
outsized or difformed towers of Gothic<br />
cathedrals 44 in their paintings. to <strong>E<strong>de</strong>r</strong>,<br />
the houses in town Hall Square, or<br />
those lining the streets of Braşov<br />
are crow<strong>de</strong>d, massive, inexpressive.<br />
it must be mentioned here that<br />
transylvanian cities, including Braşov,<br />
had not un<strong>de</strong>rgone the dramatic<br />
changes, which affected the image<br />
of cities in industrialized Europe,<br />
especially those who fell victims to<br />
Hausman “policy of <strong>de</strong>molition”. <strong>E<strong>de</strong>r</strong>’s<br />
Braşov had not lost its i<strong>de</strong>ntity, it had<br />
not become another <strong>de</strong>personalized,<br />
standard city, overwhelming in its<br />
massiveness, but had remained the<br />
same medieval town where the old<br />
and the new attuned 45 . Social and<br />
political events, as well as <strong>E<strong>de</strong>r</strong>’s<br />
personal experiences will alienate him<br />
from the world around. the cityscape<br />
is cleared out of human presence: in<br />
a world of switched values the only