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Franz EckerKomposition 3
About the Item
Seit seinem frühen Tod 1999 erlebt das Werk von Franz Ecker eine längst fällige Neubewertung, die sich auch in zahlreichen Einzelausstellungen, Katalogen und einem sehenswerten Kinofilm manifestiert. Der extrem produktive Maler hinterließ ein fast unüberschaubares Oeuvre mit einer extremen stilistischen Breite und einer ganzen Reihe von Spitzenwerken, die ihresgleichen in der jüngeren österreichischen Kunstgeschichte suchen und deren Stellenwert noch nicht hinreichend erfasst ist.
Als Franz Ecker 1966 nach dem Studium bei Sergius Pauser mit zwei Staatspreisen nach Leonding zurückkehrt, hat er bereits eine klare abstrakte Formensprache ausformuliert. Als
Inspirationsquelle sind Czeanne und Picasso zu nennen, als Lehrer unbedingt aber auch Martin Polasek. Sie führen zu einer flächenbetonten abstrakten Malerei, die durch exakte farbliche Abstimmung und strenge Komposition eine räumliche Erfahrung auslöst. Ihre stärksten Momente erlebt Franz Eckers Malerei dabei an der Grenze zwischen Gegenständlichkeit und Abstraktion. Nur in der Zeit bis ca. 1975 gibt es dazu auch eine Vielzahl Aquarelle, wobei Ecker dieses Medium für besonders lyrische Arbeiten nutzt.
Wenn Franz Ecker dennoch nicht zum Kanon der Avantgarde der 70er-Jahre gerechnet wird, so deshalb, weil er sich dem Kunstmarkt bis zur Selbstaufgabe verweigert hat. Statt die
Möglichkeiten zu nutzen, die ihm in Wien geboten werden, geht er nach der Akademiezeit wieder zurück nach Linz, das damals für sein Werk weder Verständnis noch Markt bietet. Vom etablierten Kunstbetrieb abgeschnitten, lebt Ecker kompromisslos das prekäre Leben eines einsamen Genies. Ein Künstler-Mythos, der in seinem Fall freilich bittere Realität ist.
Davon unbeeindruckt, erarbeitet sich Ecker eine immer breitere Formensprache innerhalb der klaren Linie der abstrakten Bildauffassung, was er auch mit ständig neuen Signaturformen unterstreicht.
Ende der siebziger Jahre werden seine Arbeiten gestischer und expressiver. Werke wie etwa Eckers „Kafka“ nehmen die „Neuen Wilden“ vorweg. Als diese einige Jahre später als “Rückkehr der Malerei“ gefeiert werden, bemerkt Franz Ecker voller Selbstbewusstsein in einem Interview, dass er hier nicht viel Neues erkennen könne. Er sei wohl immer noch „ein Einäugiger unter Blinden“.
Franz Ecker hat zu diesem Zeitpunkt seinen Stil bereits zu einer stark strukturierten Flächigkeit weiterentwickelt, die öfters mit Keith Haring verglichen wird. Für Museen, Kuratoren, Kunsthistoriker und Sammler hinterlässt Ecker ein Werk, das noch alle Möglichkeit der Deutung, Neubewertung, ja der Entdeckung zulässt.
- Creator:Franz Ecker (1943 - 1999)
- Dimensions:Height: 33.86 in (86 cm)Width: 33.86 in (86 cm)
- Medium:
- Movement & Style:
- Period:
- Condition:
- Gallery Location:Wien, AT
- Reference Number:1stDibs: LU1782212691192
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