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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egăseşte în totalitate în Portretul dr.<br />
Wilhelm Depner 46 , a<strong>de</strong>vărat „citat compoziţional”<br />
al acestui gen din creaţia<br />
pictorului transilvănean Franz Neuhauser<br />
(1763-1836). În astfel <strong>de</strong> lucrări 47 ,<br />
peisajul e <strong>de</strong> obicei numai schiţat, sau<br />
cuprin<strong>de</strong> doar câteva elemente din<br />
„recuzita” genului, el având rolul <strong>de</strong> a<br />
sublinia mo<strong>de</strong>lul, <strong>de</strong> a anima fundalul,<br />
tocmai pentru a contracara/echilibra<br />
nota statică, câteodată nu lipsită <strong>de</strong><br />
oarecare monumentalitate (dar şi rigiditate),<br />
în care e prezentat personajul<br />
portretizat.<br />
cu aceste pseudo-peisaje ce însoţesc<br />
natura statică şi portretul în unele<br />
lucrări ale lui <strong>E<strong>de</strong>r</strong>, am extins oarecum<br />
artificial peisagistica pictorului,<br />
dar fără a exagera înscrierea acestor<br />
fundaluri în cadrul genului, <strong>de</strong>oarece<br />
(<strong>de</strong>şi secundare), privite separat rămân<br />
expresive, sau – ca în cazul naturilor<br />
statice – ele constituie o altă parte<br />
a lucrării, nu in<strong>de</strong>pen<strong>de</strong>ntă, dar având<br />
autonomie, imaginea partajându-se<br />
parcă în două registre, în prim-plan cu<br />
natura moartă, iar în cel <strong>de</strong> adâncime,<br />
cu peisajul.<br />
Analizând traseul creaţiei lui <strong>Hans</strong><br />
<strong>E<strong>de</strong>r</strong> putem constata că artistul nu<br />
urmăreşte un program tematic sau stilistic<br />
riguros. El se lasă purtat <strong>de</strong> inspiraţie,<br />
îşi adaptează mereu mijloacele<br />
<strong>de</strong> expresie mai <strong>de</strong>grabă stării <strong>de</strong> spirit<br />
prin care trece în contact cu realitatea<br />
momentului, <strong>de</strong>cât unui <strong>de</strong>mers artistic<br />
articulat. Aceste caracteristici ale<br />
creaţiei sale apar şi în peisagistica pictorului,<br />
dar cu <strong>de</strong>stule note aparte, fapt<br />
care ne convinge că în ansamblul operei<br />
lui <strong>E<strong>de</strong>r</strong> peisagistica poate fi consi-<br />
o<strong>de</strong>r vor einem Fenster mit Aussicht<br />
(mit „vedute”) darstellen, lassen sich auf<br />
eine aus <strong>de</strong>r Renaissance stammen<strong>de</strong>n,<br />
von <strong>de</strong>r siebenbürgischen porträtistik<br />
<strong>de</strong>s 18. und 19. Jahrhun<strong>de</strong>rts gepflegten<br />
tradition zurückführen, in <strong>de</strong>r die<br />
Landschaft o<strong>de</strong>r eines ihrer Elemente<br />
<strong>de</strong>r persönlichkeit <strong>de</strong>s Dargestellten<br />
entsprechen. Diese Be<strong>de</strong>utung fin<strong>de</strong>t<br />
sich zur Gänze im Bildnis <strong>de</strong>s Arztes Wilhelm<br />
Depner 46 , das als „Kompositionszitat”<br />
aus <strong>de</strong>r porträtistik <strong>de</strong>s siebenbürgischen<br />
Malers Franz Neuhauser<br />
(1763-1836) gelten kann. in Bildnissen 47<br />
wird die Landschaft meist nur skizziert<br />
o<strong>de</strong>r enthält einige Standardrequsiten.<br />
Sie soll <strong>de</strong>n Hintergrund beleben um<br />
<strong>de</strong>n statischen, zuweilen sogar steifen<br />
Eindruck in <strong>de</strong>r Darstellung <strong>de</strong>r abgebil<strong>de</strong>ten<br />
personen auszugleichen.<br />
Durch die Einbeziehung <strong>de</strong>r pseudolandschaften,<br />
die <strong>E<strong>de</strong>r</strong> in seine Stillleben<br />
und porträts eingearbeitet hat, wur<strong>de</strong><br />
<strong>de</strong>r Rahmen <strong>de</strong>r Landschaftsmalerei<br />
vielleicht etwas überschritten. Auch<br />
wenn sie nur eine sekundäre Rolle spielen,<br />
so sind sie doch einzeln betrachtet<br />
sehr expressiv, bzw. verfügen sie im Falle<br />
<strong>de</strong>r Stillleben über eine gewisse Autonomie,<br />
da sie das Gegengewicht zum<br />
vor<strong>de</strong>rgründigen Stillleben bil<strong>de</strong>n.<br />
Betrachtet man das Gesamtwerk<br />
<strong>Hans</strong> <strong>E<strong>de</strong>r</strong>s, so kann festgestellt wer<strong>de</strong>n,<br />
dass er keinem streng abgesteckten thematischen<br />
o<strong>de</strong>r stilistischen programm<br />
folgt. Er folgt seiner Momentsinspiration<br />
und passt die künstlerischen Mittel<br />
eher <strong>de</strong>m jeweiligen Gemütszustand an<br />
als einer klar umrissenen vorgabe. Diese<br />
Kennzeichen seines Schaffens lassen<br />
sich zwar auch in <strong>de</strong>r Landschaftsma-<br />
portrait in some of <strong>E<strong>de</strong>r</strong>’s works, we<br />
exten<strong>de</strong>d, somewhat artificially, his<br />
landscape painting, without inscribing<br />
these backgrounds in the genre,<br />
because (although minor), consi<strong>de</strong>red<br />
separately they remain expressive<br />
or, as is the case with the still-lifes,<br />
they constitute a different part of the<br />
composition, not in<strong>de</strong>pen<strong>de</strong>nt, but<br />
autonomous; the image appears to be<br />
parted: the still life in the foreground,<br />
and the landscape in the background.<br />
in analysing the evolution of <strong>Hans</strong><br />
<strong>E<strong>de</strong>r</strong>’s creation, we find that the artist<br />
does not follow a rigorous thematic<br />
or stylistic programme. His frame of<br />
mind is stirred by the contact with the<br />
reality of the moment; thus, he allows<br />
himself to be gui<strong>de</strong>d by inspiration,<br />
rather than by an articulate artistic<br />
en<strong>de</strong>avour. these marks appear in his<br />
landscapes, with certain peculiarities<br />
which convince us that in the ensemble<br />
of <strong>E<strong>de</strong>r</strong>’s creation, landscape painting<br />
can be consi<strong>de</strong>red a separate chapter.<br />
His dramatic vision of reality, scarred<br />
by explosive emotional experiences,<br />
full of anxiety, painfully skeptical,<br />
rarely meditative, are elements which<br />
confer it cohesion and particularity. We<br />
must also un<strong>de</strong>rline that the thematic<br />
and the artistic en<strong>de</strong>avour of <strong>E<strong>de</strong>r</strong>’s<br />
creation are perfectly synchronized<br />
with the European artistic movement<br />
of the time: he transcends the simple<br />
perception, the mimetical ren<strong>de</strong>ring<br />
of reality, towards a representation<br />
which bears the sign of the Einfühlung.<br />
this conception advocates the use<br />
of the energies of life in the artistic<br />
en<strong>de</strong>avour, aiming at a psychological