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Rudolf HayderThree Herons - At the flaming lake -1st half of the 20th century
1st half of the 20th century
$529.20
£392.08
€450
CA$724.53
A$815.16
CHF 431.90
MX$10,066.21
NOK 5,294.69
SEK 5,087.47
DKK 3,423.87
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About the Item
Rudolf Hayder (active in the 1st half of the 20th century), Heron. Color woodcut on thin Japanese paper, 24 x 29 cm (image), 29 x 36 cm (sheet size), signed by hand at lower right "R. Hayder" and titled by hand as "Reiher". Lower left inscribed by hand "Orig.[inal] woodcut, hand print".
- A little bit stained in the margins and very occasionally in the image, minimal hole above the signature, traces of creasing. At the back side's margins with remnants of an old mounting.
About the artwork
In the context of French Japonism, the color woodblock print, which was widespread in the Asian region, was rediscovered for Western art. The artists of the time, such as Édouard Manet, Claude Monet, Edgar Degas, Paul Gauguin and Vincent van Gogh, were inspired not only by the cultural influence, but also by the two-dimensionality of the pictorial spaces. Thus, color woodcuts became an important moment in the development of the modern pictorial concept founded by Impressionism.
In Rudolf Hayder's "Herons", too, the two-dimensionality of the pictorial space is decisive for the pictorial effect. The herons, surrounded by reeds, are framed by the yellow background of the lake, followed by the dark blue-greenish stripe of the opposite shore and, above it, the sky in a lighter blue-green. Formally, it is a sequence of planes, but the two-dimensionality of the motif creates a spatial effect. This spatiality in the surface creates an intense pictorial effect. Hayder intensifies this effect with the blazing lake. In terms of color, the water becomes a sunset. The yellow turns reddish brown toward the shore, then fades to brownish red, while the shore is a watery turquoise. There is something ephemeral about this color mood, as evidenced by the masterful water reflections on the reeds and the legs of the herons.
In Japan, the heron is considered very important. It is said to be able to live over 1000 years. Therefore, it is considered a symbol of longevity. It is also said to choose only one partner in life, which makes it a symbol of fidelity.
Without directly addressing these meanings, Hayder develops a relationship between the herons. On the left, two of the birds stand with their necks stretched, while the animal opposite has its head tucked in. This creates a dialogicity that the viewer cannot decipher, which in turn is fueled by the flaming water.
GERMAN VERSION
Rudolf Hayder (tätig in der 1. Hälfte 20. Jh.), Reiher. Farbholzschnitt auf dünnem Japanpapier, 24 x 29 cm (Darstellung), 29 x 36 cm (Blattmaß), rechts unten mit „R. Hayder“ handsigniert und als „Reiher“ handbetitelt. Links unten handvermerkt „Orig.[inal] Holzschnitt, Handabdruck“.
- In den Randbereichen etwas und sehr vereinzelt in der Darstellung stockfleckig, minimales Loch über der Signatur, Knickspuren. Rückseitig an den Rändern mit Falzresten einer alten Montage.
zum Kunstwerk
Im Rahmen des französischen Japonismus wurde der im asiatischen Raum verbreitete Farbholzschnitt für die westliche Kunst wiederentdeckt. Die damaligen Künstler, wie Édouard Manet, Claude Monet, Edgar Degas, Paul Gauguin und Vincent van Gogh, inspirierte neben der kulturellen Prägung, vor allem die Flächigkeit der Bildräume. Damit wurden die Farbholzschnitte zum wichtigen Moment bei der Ausprägung der vom Impressionismus begründeten modernen Bildauffassung.
Und auch bei den „Reihern“ von Rudolf Hayder ist die flächenmäßige Entwicklung des Bildraums für die Bildwirkung entscheidend. Die vom Schilf umgebenden Reiher werden vom gelben Fond des Sees hinterfangen, an den sich der dunkle blaugrünliche Streifen des anderen Ufers und darüber der in hellerem Blaugrün gehaltenen Himmel anschließen. Formal gesehen handelt es sich um eine Abfolge von Flächen, die durch die motivische Rückbindung allerdings eine Raumwirkung in der Flächigkeit entfalten. Diese Räumlichkeit in der Fläche erzeugt eine intensive Bildwirkung. Hayder steigert diese Wirkung durch den aufflammenden See. Farblich wird das Wasser zu einem Sonnenuntergang. Das Gelb färbt sich zum Ufer hin rotbraun, um dann in einem Braunrot auszuklingen, während das Ufer ein wasserartiges Türkis aufweist. Dass diese Farbstimmung etwas Ephemeres hat, wird von den meisterhaft ausgeführten Wasserreflexionen des Schilfs und der Beine der Reiher veranschaulicht.
In Japan wird dem Reiher eine wichtige Bedeutung beigemessen. Ihm wurde nachgesagt, über 1000 Jahre alt werden zu können. Daher gilt er als Symbol der Langlebigkeit. Zudem heißt es, er würde im Leben nur einen Partner wählen, weshalb er auch für die Treue einsteht.
Ohne diese Bedeutungen direkt aufzugreifen, entwickelt Hayder eine Beziehung der Reiher untereinander. Links stehen zwei der Vögel mit gerecktem Hals, während das Tier ihnen gegenüber seinen Kopf eingezogen hat. Es entsteht eine für den Betrachter nicht zu entschlüsseln Dialogizität, die wiederum vom flammenden Wasser befeuert wird.
- Creator:Rudolf Hayder (German)
- Creation Year:1st half of the 20th century
- Dimensions:Height: 9.45 in (24 cm)Width: 11.42 in (29 cm)
- Movement & Style:
- Period:
- Condition:
- Gallery Location:Berlin, DE
- Reference Number:1stDibs: LU2438212310042
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