ARTISTS / Art after 1945
Hann Trier

© Hann Trier / VG Bild-Kunst, Bonn

Hann Trier

Verano, 1963

egg tempera on canvas
130 × 89 cm

monogrammed and dated lower right: hTrier 63

price upon request
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Provenance: Kunststiftung Hann Trier, LVR-Landesmuseum Bonn
Literature: Sabine Fehlemann (ed.), Hann Trier. WV Ute Gerlach-Laxner, Cologne 1990, no. 440, ill. p. 389; Hann Trier, Galerie Stangl, AusstKat. Munich, 1964, 26

Hann Trier is one of the most important representatives of informal art in Germany. In the period of upheaval after the world wars, he relied on the expressive power of the values of form and color released from mimetic bonds. He charged non-objective color compositions with unmistakable individuality and at the same time made them intersubjectively effective. In the mid-1950s, the left-handed artist, who had been retrained to be right-handed, realized that the use of only one hand, accompanied by gestural impulses, could only ever bring in half of the body. Thus he came to work with two arms/hands and to the structures characterized by an axis of symmetry that are typical of his work. At the end of the 1950s, the lines moved on the same plane as the painting ground, so that his 1963 landscape format "Verano" stands as a mature example of his painting method, in which he achieved an interweaving of gestural movement (line), painting ground (space) and color substance (matter). In this painting, Trier succeeds in making matter and mood appear identical. In his pictorial interpretation of the moments of movement, in the ductus formulated with both hands, the pictorial intention can be recognized, which under the title "Verano" (Spanish, "Summer") in differentiated shades of red refers to the mood energized by the sunlight. The individual brushstroke unfolds masterfully as a harmonious movement of the surface, so that associations of a shimmering hot summer day can arise when viewed more intensively.
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