58. Couple [1945]

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Roxana Scripcaru

Head of the Romanian Postmodern & Contemporary Art Evaluation Office

0736 381 153 roxana.scripcaru@artmark.ro

58. Couple [1945]

Carol Hübner

1902, Sighişoara - 1981, Brașov

Not sold

Selling price

EUR 543

References

Exhibition catalogue "Karl Hübner", Brasov Art Museum Publishing House, 2012.

wood, 49 x 19.2 x 7.4 cm, signed and dated on verso, on the base, "KH, 1945"

In 1906, Carol Hübner settled in Brașov with his family, thus in the epicenter of the German cultural life in Romania at the beginning of the 20th century. He began to show his first artistic inclinations in high school, being encouraged by his drawing teacher, and in 1926 he went to Berlin. He arrives in Germany amid the surge of expressionism and the New Objectivity. Upon his return to Romania, he will continue his studies in Bucharest, where, with the help of a scholarship, the activity of a decorator painter and that of an illustrator, he will manage to balance his financial situation. Inspired by everyday reality, Hübner builds his work from portraits, landscapes or still lifes with flowers. He will return to Brașov in 1932, and in 1933 he will have his first personal exhibition here. The echoes of his approach will be felt through laudatory reviews in publications such as Kronstadter Zeitung. Although he will be mainly concerned with painting, he will sometimes focus on drawing, watercolor, engraving or sculpture. After the war ended, he will dedicate more time to creating watercolors and linocuts; but he will also experiment with the technique of sculpture and mosaics. The first mentions about Carol Hübner's sculptural work are recorded in his personal exhibition in 1945. Analyzing his creation during this period, we will observe several mediums and materials that the artist approached, and among the favorite we mention plaster and wood. The artist will sculpt from portraits, busts and self-portraits to stylized figures, fairy tales scenes or anthropomorphic figures. He will be concerned with materializing shapes, thus paying attention to bodies. Naked or only partially covered, Hübner's characters present themselves to the public in different situations, in singular appearances or in pairs, embodying both the androgynous couple and the man-animal communion. Sculpture can be viewed, therefore, as an adjacent passion to the artist's pictorial creation.

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