Page 20 - Studio International - December 1965

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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