Universidade de So Paulo

Biblioteca Digital da Produo Intelectual - BDPI

Museu de Arte Contempornea - MAC Livros e Captulos de Livros - MAC

2015

Fritz Winter

http://www.producao.usp.br/handle/BDPI/51394

Downloaded from: Biblioteca Digital da Produo Intelectual - BDPI, Universidade de So Paulo

 ACERVO: OUTRAS ABORDAGENS VOL.II

MUSEU DE ARTE CONTEMPORNEA

da Universidade de So Paulo
 ACERVO: OUTRAS ABORDAGENS VOL.II
MUSEU DE ARTE CONTEMPORNEA
da Universidade de So Paulo

TADEU CHIARELLI
(Organizador)

ANA CNDIDA DE AVELAR

(Co-organizadora)

e-book

UNIVERSIDADE DE SO PAULO
Museu de Arte Contempornea
MAC USP
So Paulo
2015
 Fritz WINTER
Altenbogge, 1905 - Herrsching Am Ammersee, 1976

Ana Magalhes

Fritz Winter passou a se dedicar pintura em 1924, e, de 1927

a 1930, frequentou a Bauhaus, onde as experincias de Kandinsky
e Klee tiveram forte impacto na sua produo. Tambm se fala da
grande apreciao que Winter tinha pela obra de Van Gogh, o que fazia
do jovem alemo um artista da cor. Sua carreira seria interrompida
pelos anos da II Guerra Mundial, em que serviu ao exrcito de seu pas, Preto Independente no Espao, 1954
leo sobre tela 135,3 x 146 cm Doao MAMSP Winter, Fritz / AUTVIS, Brasil, 2015
sendo feito prisioneiro de guerra pelos russos em 1945. Ao retornar
Alemanha, em 1949, Winter funda o chamado Grupo Zen (original-
mente conhecido como Gruppe der Ungegenstndlichen ou o Grupo
dos No-objetuais), ao lado de outros seis artistas dentre eles, Willi
Baumeister, tambm presente no acervo do MAC USP. Ele tinha por
suas razes expressionistas. Winter era apresentado pelo comissrio
objetivo retomar as prticas e o ambiente dO Cavaleiro Azul (grupo de
da Representao Nacional alem como aluno de Kandinsky e Klee
expressionistas em torno de Kandinsky, da primeira dcada do sculo),
na Bauhaus de Dessau, bem como era acentuada sua origem prole-
ao mesmo tempo associando a cor filosofia zen budista, dando origem
tria. As formas mais severas e cores mais sombrias, segundo Walter
a uma vertente de abstrao no-geomtrica.
Passarge, derivavam de sua condio social.
Na retomada de sua carreira como artista, Winter rapidamente
A obra que temos aqui passou ao acervo do antigo Museu de Arte
projetado no ambiente internacional, participando da Bienal de Veneza
Moderna de So Paulo (MAM SP) como prmio-aquisio da Bienal
em 1950 e da 1a Bienal de So Paulo em 19511 e realizando expo-
de 1955, com patrocnio do Jockey Club de So Paulo. Embora sejam
sies individuais em vrias cidades alems, em Paris e em Nova
evidentes suas referncias s experincias abstratas da Bauhaus, Preto
York ao longo da dcada. Preto Independente no Espao foi uma
Independente no Espao trabalha com aspectos materiais tambm
das dez pinturas que Winter apresentou na 3a Bienal de So Paulo,
importantes, tais como as manchas pretas que parecem saltar para fora
ao lado de outros artistas e da sala especial dedicada obra de Max
da tela e se contrapem a uma superfcie composta de zonas coloridas,
Beckmann. A Alemanha marcava sua presena, portanto, resgatando
marcadas pela gestualidade do artista. H certa intensidade subjetiva,
1 Fritz Winter participou, enfim, de trs edies da Bienal de So Paulo, todas na dcada de 1950: 1951, 1955 e 1957, menos vista nas tendncias concretistas daquele momento, mas que
quando veio como um dos artistas da sala especial sobre a Bauhaus, organizada pela Representao Nacional alem, a pedido
da direo artstica de So Paulo. resgatam as experincias de seus mestres bauhausianos com a cor.
97
 Fritz WINTER
Altenbogge, 1905 - Herrsching Am Ammersee, 1976

Ana Magalhes
Fritz Winter began to dedicate himself to painting in 1924, and from 1927 to 1930,
he attended the Bauhaus, where the experiences of Kandinsky and Klee had a strong
impact on his production. Winter also greatly admired the work of Van Gogh, which
made the young German man an artist of color. His career was interrupted during the
2nd World War, during which he served the army of his country and was made prisoner
by the Russians in 1945. When he returned to Germany, in 1949, Winter founded
the Zen Group (originally known as Gruppe der Ungegenstndlichen or Group of
the non-objectual artists), together with six other artists such as, Willi Baumeister,
who is also present in the MAC USP collection. His aim was to resume the practices
and environment of The Blue Rider (group of expressionists that followed Kandinsky,
from the first half of the century), simultaneously associating color to Zen Buddhist
philosophy, thus, originating a current of non-geometric abstraction.
When he resumed his artistic career, Winter was quickly known in the international
scene. He participated in the Venice Biennale in 1950 and in the 1st So Paulo
Biennial in 195160, as well as had solo exhibitions in various German cities, in Paris
and in New York throughout the decade. Preto Independente no Espao was one of the
ten paintings Winter presented in the 3rd So Paulo Biennial, together with other artists
and the special room dedicated to the work of Max Beckmann. Therefore, Germany
marked its presence by resuming its expressionist roots. Winter was presented by the
curator of the German National Representation as a student of Kandinsky and Klee
at the Bauhaus of Dessau, and he also highlighted his proletarian family background.
According to Walter Passarge, the most severe shapes and the most somber colors
derived from his social condition.
The work we have here was part of the collection of the former Museum of Modern
Art of So Paulo (MAM SP) after it was granted a purchase-prize in the 1955 Biennial,
sponsored by the Jockey Club of So Paulo. Although its references to the artists
abstract experiences at the Bauhaus are evident, Preto Independente no Espao also
deals with equally important material aspects, such as the black stains that seem to
jump out of the painting and are opposed to a surface comprised of colored zones,
marked by the artists gestuality. There is a certain subjective intensity, which was not
commonly scene in the concrete trends of that moment, but resumes the experiences
with color of his Bauhaus masters.

60 Fritz Winter participated in three editions of the So Paulo Biennial, all in the 1950s: 1951, 1955 and 1957, when he came
as one of the artists of the special room on the Bauhaus, organized by the German National Representation, following the request
made by the So Paulo artistic management.