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孤寂與存在-解讀漢斯.艾門尼格(Hans Emmenegger)1930年代的「樹林」系列

Solitude and Existence - Hans Emmenegger(1866 - 1940) "Forest" series(1930s)

摘要


二十世紀初的瑞士畫家漢斯.艾門尼格創作於1930年代的「樹林」系列,是他創作生涯晚期非常重要的代表作。筆者透過自身的創作經驗,在瑞士琉森(Luzern)美術館內細讀艾門尼格的「樹林」系列原作,並藉由本文論述筆者依其作品獨特的表現方式所領略到的弦外之音。該系列作品以樹林為主題,藉由特殊的取景方式,誇張的光線對比與簡化的造型處理,艾門尼格在作品中呈現的已不僅是表象的樹,而更顯露出表象之下的靜謐與孤寂,時間彷彿在畫面中被凝結。筆者認為,1930年代艾門尼格作品中所顯露的憂鬱與孤寂的內在特質,不僅形成於其個人生活的孤獨與財務的困難,同時也源於外在環境的影響,例如:1930年代全球性的經濟大蕭條,歐洲動蕩不安的氛圍,存在主義(Existentialism)的興起與盛行等,其中尤以存在主義的因素更令筆者關注,因其作品中的憂鬱、靜謐、孤寂的特質確實與存在主義密切相關。簡言之,藉由樹林,艾門尼格畫出了他自己,也畫出了他的時代。

並列摘要


The "Forest" series made by the early 20^(th)-century artist Hans Emmenegger in the 1930s were some of the essential pieces of work in the later years of his creative career. The author combined his own experiences with the knowledge gained from reading about the "Forest" series in the Luzern Art museum to read between the lines and present the insights based on the works' unique presentation. Utilizing forests as the main subject, Emmenegger uses unique framing techniques alongside exaggerated light juxtaposition and simplified designs. The "Forest" series not only convey the trees to the viewer but also reveals the serenity and loneliness underneath the surface, giving the feeling of time frozen within the frames. The author believes that the aspects of melancholy and loneliness found in Emmenegger's works in the 1930s stemmed from his financial woes and solitude. Still, apart from personal factors, the era in general also played a significant part. These environmental factors may have included the Great Depression in the 1930s, the tense atmosphere enveloping Europe and the rise of Existentialism amongst others. Of possible environmental influences, the author takes particular note of Existentialism due to the themes of melancholy, serenity, and loneliness being highly correlated to Existentialistic philosophy. To summarize, through his forest paintings, Emmenegger not only expressed himself in his works but also reflected the era they were created in.

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