HANS EBNER (Niederdorf 1886 - 1960 Dießen at Ammersee), On the Way Home, 1920

HANS EBNER*
(Niederdorf 1886 - 1960 Dießen at Ammersee)
On the Way Home, 1920
oil/canvas 87,4 x 65,4 cm
monogrammed Eb and dated 20
Provenance: gallery Konzert Innsbruck, private collection Vienna

ESTIMATE °€ 2.000 - 4.000
START € 2.000

Austrian painter of the 20th century. Representative of color expressionism. Influence of Cubism, Kinetism and Futurism. Originated in South Tyrol, studied at the Staatsgewerbeschule in Innsbruck. Went to the private painting school of Moritz Weinhold in Munich, from 1907 studied at the Academy of Fine Arts in Munich. 1926 founding member of the Secession in Innsbruck. Created Tyrolean landscapes, rural motifs but also religious scenes.

Ebner attended the state trade school in Innsbruck from 1905 to 1907 before moving to Munich and studying first at Moritz Weinhold's private painting school and from 1907 at the Munich Academy. In 1912 he went to study at Lake Garda. He first lived in Grieß am Brenner and later in Dießen am Ammersee. In 1926 Ebner was a founding member of the Innsbruck Secession. In his oil painting "Homecoming from the Pasture" Hans Ebner contrasts a traditional subject with modern imagery. Shown is the view of a small mountain village, the church placed exactly in the middle of the picture protrudes prominently and sets a color accent with its bright red roof. From an elevated point of view we look at the valley embedded between mountains. Three cows and a horse are on their way home. In combination with the idyllic, rural image content, the modernity of the creative means becomes clear. In the context of Tyrolean painting of the 1920s, the picture is conspicuously progressive: Hans Ebner splits the picture up into crystalline color fields and divides the picture surface into diamond-shaped and triangular areas with an almost symmetrical network of diagonal lines. The translucent structure is reinforced by the reduction in color to light turquoise and violet tones that appear glassy. Because the hills are not built up as an overlapping sequence, but rather as an overlapping intertwining, Ebner reduces the spatial effect. The composition of the picture, consisting of lines of light and rays pushed into one another, is reminiscent of the futuristic works of the Italian Giacomo Balla. Hans Ebner lives temporarily in Tyrol, from 1912 on the Brenner Pass, in the immediate vicinity of Italy, and is likely to be familiar with the work of the Italian Futurists. In contrast to these, however, Hans Ebner is not interested in depicting dynamic time sequences; The narrative element of the picture is the animals, which stand out from their modern pictorial environment due to their largely naturalistic depiction and contrasting colour. The works of the artists' association “Der Blaue Reiter” are probably even more important than the influence of the Italian Futurists. In 1913 the “First German Autumn Salon” exhibited in Berlin, in whose extensive catalog more than 90 artists, including Giacomo Balla and many painters from the “Blauer Reiter” are represented. The parallels to the works of Robert Delaunay in the early 1910s and those of Franz Marc are particularly striking. In addition to similar creative means, Marc repeatedly chooses the theme of the animal embedded in the landscape, which he makes the meaning of his intention in a complex color symbolism and in the painting brings together the inner and outer reality of experience. In 1912 he wrote about contemporary developments in art: “Today art is taking paths that our fathers never dreamed of; one stands in front of the new works as if in a dream [...]; one feels an artistic tension over the whole of Europe”. Hans Ebner is part of this tension and with his "Homecoming from the Pasture" develops modern painting in Tyrol after the First World War.

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