Page 20 - Studio International - December 1965
P. 20

1                       cases  it  is  a  vehemence,  symbolized  in  dramatic,   the  informel aspect of an  art brute taken over  into  the
       Erwin  Reiter
      Pred,ger 1 9 64         subtly  pathetic  poses;  in  both  cases  it  is  an  urgent   field of  sculpture.  An  integrating  stability  is applied to
       Bronze                  content  expressed with formal  precision.        the form elements of Urteil's subsequent work.
      2                         While  Urteil's creation  up to  1961  had been given to   An  alternation  of  superimposed  and  mutually  inter­
       Otto  Eder             examples  of  sweeping  disintegration  (up  to  the   locked definitions  (similar to the graphic-linear style of
      Der Aufrechle 1960/61
      Cement                  unwieldy, almost graphic structure of the  Torchbearer),   the  later  drawings)  stamps  the  almost life-size  marble
                               a  year  later,  in  the  various  small  sculptures  and in  the   relief finished in the autumn of 1962. or the relief plates
                               two  more-than-life-size  pieces  of  this  period  (in  the   modelled at that time.  In  the  final aquarelles the linear
                               larger  version  of  the  Watchman  from  the  summer  of   rhythm  of the  drawings  grows  into  a  compact,  almost
                               1962 and in the Icarus,  finished a few weeks before the   painterly overall plan  as in  the same way he organizes
                               tragic  death  of  the  30-year-old  artist),  massive  meta­  the  distribution  of  light  and  shade,  cavities  and  pro­
                               phorical  content  is  again  retained.  The  compact,   jections  in  the  sculptures  of  the  final  year.  The  con­
                               coherent  designs  reveal  a  more  circumspect  deviation   figurations of Erwin  Reiter, to which he tends to give a
                               than the previous clefts and ravines, which at that time   mythological  clothing,  are  in  many  respects  based  on
                              expressed the very individual argument of the artist with   the work  of Urteil,  which in their temperamental multi-
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