Fotografije parcele su informativne i indikativne te ne mogu pružiti vrlo detaljan prikaz objekta iz svih kutova. Preporučujemo pažljiv fizički pregled parcele prije licitiranja.
Fotografije parcele su informativne i indikativne te ne mogu pružiti vrlo detaljan prikaz objekta iz svih kutova. Preporučujemo pažljiv fizički pregled parcele prije licitiranja.
157. Three Sisters (the artist's daughters) [1935]
The cultural environment in which he evolved in the first 20 years of his life was exclusively defined around Brașov, the terminus point in the small artistic universe known to Eder until his departure for Germany. The entire study period coincided with his Brașov years, until the age of 20, in 1903, as Hans Eder evolved under the influence of the local artistic centre. At that time, this cultural core took shape around the figure of Ernst Kühlbrandt, a teacher at the Kronstädter Gimnasium, as well as Eder's first teacher. This character's role for the young painter's artistic education is even more important, as the teacher's field of qualification outgrew mere painting, as he was one of the "pillars" of the Brașov society, a poet, a historian, a man of culture. The cultural core of the city of Brașov was held together in the Transylvanian space thanks to Arthur Coulin, and the direct activity in the city's artistic environment was brought to fruition through the creation of the atelier-school, alongside Friedrich Miess. Eder has also walked through that atelier's door, guided by his thirst for knowledge of two important contemporary painters. In Munich, he initially joins the "Schule für Graphische Künste" under the guidance of Moritz Heymann, and later on he directs himself towards "Kunstakademie", class of Professor Hugo von Habermann. This first decade of studies, coinciding with the first decade of the 20th Century, is completed with a semester-long journey in Paris, at the "La palette" atelier-school, where, for a few months, he follows Lucien Simon. The urban universe represented a seamless theme in the artistic conception that Eder formulated in his 50 years of visual art work. The thorough study of the Munich lessons, alongside the time spent in Bruges, Belgium, linked with a completely urban cultural structure, represented the pillars of that universe assumed by Eder, which became unique in the Romanian space. During his time in Munich, Hans Eder developed a friendship with the artist Felix Albrecht Harta, with whom he would later spend his holidays. The painter Harta made oil portraits of Hans Eder's family (we make mention of the family portrait dedicated to the two husbands and the eldest daughter) and several works in which he synthesized the features of Ida Fraetschkes, whose name after marriage was Eder. A synthesised expressionism, practised in depth especially through the exceptional quality of portraits, Hans Eder's style connected with the spirit of a society that was hungry for profound images, of man amid an unfolding urban scenery. The actual painting started showing some future tendencies, which we also notice in the current work. The paintbrush movement exerted on the background seems to be a personal approach of a post-impressionist visual complex, the intermittent paintbrush strokes on the used surface, however, was not used for the chromatic quality offered by the decomposition, but especially for the creation of an expressive frame. The same manner of painting also appears more in-depth later down the line, while creating skies that remind of Edvard Munch's painting, hence a total appropriation of European Expressionism.
Literatura
NADIN, Mihai, "Hans Eder", Meridiane Publishing House, Bucharest, 1973 Catalogue "Expoziție retrospectivă Hans Eder. 125 de ani de la naștere" ("Hans Eder retrospective exhibition. 125 years since his birth"), Brașov, 2008.
Dimenzije
width 100.5 cm, height 102.5 cm
Opis
oil on canvas, signed and dated upper left, in brown, "H.E., (19)35"
Izlasci
1935
DODATNE INFORMACIJE
Za pojašnjenja u vezi s postupkom licitiranja, troškovima kupnje, uvjetima jamstva, plaćanja i preuzimanja osvojenog lota preporučujemo da pažljivo pročitate/ponovno pročitate Pravilnik o licitiranju.
The cultural environment in which he evolved in the first 20 years of his life was exclusively defined around Brașov, the terminus point in the small artistic universe known to Eder until his departure for Germany. The entire study period coincided with his Brașov years, until the age of 20, in 1903, as Hans Eder evolved under the influence of the local artistic centre. At that time, this cultural core took shape around the figure of Ernst Kühlbrandt, a teacher at the Kronstädter Gimnasium, as well as Eder's first teacher. This character's role for the young painter's artistic education is even more important, as the teacher's field of qualification outgrew mere painting, as he was one of the "pillars" of the Brașov society, a poet, a historian, a man of culture. The cultural core of the city of Brașov was held together in the Transylvanian space thanks to Arthur Coulin, and the direct activity in the city's artistic environment was brought to fruition through the creation of the atelier-school, alongside Friedrich Miess. Eder has also walked through that atelier's door, guided by his thirst for knowledge of two important contemporary painters. In Munich, he initially joins the "Schule für Graphische Künste" under the guidance of Moritz Heymann, and later on he directs himself towards "Kunstakademie", class of Professor Hugo von Habermann. This first decade of studies, coinciding with the first decade of the 20th Century, is completed with a semester-long journey in Paris, at the "La palette" atelier-school, where, for a few months, he follows Lucien Simon. The urban universe represented a seamless theme in the artistic conception that Eder formulated in his 50 years of visual art work. The thorough study of the Munich lessons, alongside the time spent in Bruges, Belgium, linked with a completely urban cultural structure, represented the pillars of that universe assumed by Eder, which became unique in the Romanian space. During his time in Munich, Hans Eder developed a friendship with the artist Felix Albrecht Harta, with whom he would later spend his holidays. The painter Harta made oil portraits of Hans Eder's family (we make mention of the family portrait dedicated to the two husbands and the eldest daughter) and several works in which he synthesized the features of Ida Fraetschkes, whose name after marriage was Eder. A synthesised expressionism, practised in depth especially through the exceptional quality of portraits, Hans Eder's style connected with the spirit of a society that was hungry for profound images, of man amid an unfolding urban scenery. The actual painting started showing some future tendencies, which we also notice in the current work. The paintbrush movement exerted on the background seems to be a personal approach of a post-impressionist visual complex, the intermittent paintbrush strokes on the used surface, however, was not used for the chromatic quality offered by the decomposition, but especially for the creation of an expressive frame. The same manner of painting also appears more in-depth later down the line, while creating skies that remind of Edvard Munch's painting, hence a total appropriation of European Expressionism.
DODATNE INFORMACIJE
Za pojašnjenja u vezi s postupkom licitiranja, troškovima kupnje, uvjetima jamstva, plaćanja i preuzimanja osvojenog lota preporučujemo da pažljivo pročitate/ponovno pročitate Pravilnik o licitiranju.
NADIN, Mihai, "Hans Eder", Meridiane Publishing House, Bucharest, 1973 Catalogue "Expoziție retrospectivă Hans Eder. 125 de ani de la naștere" ("Hans Eder retrospective exhibition. 125 years since his birth"), Brașov, 2008.
Dimenzije
width 100.5 cm, height 102.5 cm
Opis
oil on canvas, signed and dated upper left, in brown, "H.E., (19)35"
