Janus Pannonius Múzeum Évkönyve 37 (1992) (Pécs, 1993)

Művészettörténet - Aknai Tamás: Günther Uecker „Mező 1987” című képének elemzése

263 Analysis of Günther Uecker'

s work of art "Field, 1987" Tamás AKNAI In 1987, after the 1986 Hungarian visit of German State President Richard von Weiszäcker, as proof of the closer German-Hungarian relations is became possible to arrange an exhibition of the works of Günther Uecker. The artist himself gave to the collection of the Modern Hungarian Gallery a present his work Field. 1987. (Oil, canvas, nail, 120x120x14 cm. JPM Inv. No. 87.123) The Field is a late appearence of a relatively well known type of combined painting which calls our attention to the reborn elements of Uecker's oeuvre, as well as the recently dominât actualities solved within. For this reason it is worthy to survey the main stations of the development of the series up to and around Field, and respectively try to compare the plasticconceptual meanings of this work with other achievements of this time. The dynamic surface formed by intensive optical effects of pigments and nails fills with content the psychological associations in two well differentiated ways and gives them orientations. The first: we are supposing the nail to be an optic-technic basis of the constructive constitution, but the nail itself with its natural preconceptions bound to the tool-like existence is weghted by recalled notions of "penetrations", "beating", "fastening", "bursting through" are appearing as potential purposive concentration of power and energy. The starting point of the second level of interpretation assures orientation with the formal elements of the constructive conception. The composition of this work gives tone to the nail playing mainly the role of a mediator of the conceptual order, rather than proof of the symbols. The FIELD sensitively quotes the relevant references adhered to the nail. We assumed ourselves to be investigat this work as a relatively new fact within the elements of a "classical" and personal manner which were revived in an unchanged way. This painting offers opportunity to overview the retrospectively formed statement summarizing and containing the lessons of previous work and sheds light upon the pieces created simultaneously and in similar circumstances to those of Field. 1987. This hidden moral and arthistorical capacity might have played some part in that Günther Uecker's decision to donate this painting. The purity of this work expresses an opposition to art which gloryfies the man and his society as measure of all (Anthropos panthon metrón). This work "speaks" about outer and inner selflimitation when the artist, wandering at the border between territories ruled by action and untouched boundaries of nature, is draws up his feeling of danger. The artist formulates the example of the path leading to a certain kind of self-aquaintence.