Akvareli Alberta Kinerta
Nezaobilazno ime u povijesti hrvatske umjetnosti, sli=
kar
originalne poetike, izvrstan ilustrator i vrhunski crtač Albert Kinert
koliko god bio, danas, zaboravljan ili izostavljan (iz možebitnih preg=
leda
povijesti umjetnosti) svojim je originalnim slikopisom izvršio golem
utjecaj na generacije koje je učio na Akademiji likovnih umjetnosti u
Zagrebu, gdje je bio profesor grafike. Njegova originalnost leži u got=
ovo
kafkijanskoj zapletenosti stvarnosti i nestvarnosti, između apstraktnih
kompozicija i figura; u slojevitom, različitom i otvorenom
preobražaju koji se neprestano zbiva pred našim očima: iz
velikih figura nastaju malene, iz mrežastih bjelina i tamnih sjena vid=
e se
umišljene ili stvarne (erotske) scene.
Ovaj ciklus akvarela nije do sada izlagan, te ova
izložba prvi puta omogućuje javnosti uvid u erotske maštarije
Alberta Kinerta, odnosno u akvarelne radove. Kaligrafska sitničavost t=
ako
svojstvena Kinertu vidljiva je i u akvarelima. Riječ je o takozvanim s=
uhim
akvarelima u kojima crtež prevladava na bojama. Štoviše, sit=
no
raspršene boje i fini nanosi s tek ponešto bjeline papira (koji se
ponekad javljaju u ulozi spota) oblikuju kompaktne cjeline nepravilnih otvo=
renih
rubova karakterističnih za Kinertove grafike. Unutar te koloristič=
;ki
odmjerene i slojevite osnove plete Kinert svoj paučinasti svijet malih
figurica (poput skakavaca) čija lica izvitoperenog i karikaturalnog do=
jma
djeluju poput životinjskih maski. Ali njihove poze jasno govore o
seksualnoj požudi i pohoti, dok akvarelnost dograđuje sočnost
čitave priče. Stilizirani prostori poput na primjer vješalic=
e s
kaputima, ili mračna i natrpana soba, ugođaji su gdje se odvija
ostvarenje seksualne želje. Ponekad Kinert slika goli muško
ženski par u (mogućim) prostorima, gdjekat se čini da akvare=
lna
kompozicija metaforički preobraža i uzdiže (posprdni) «=
;Pakao»
Hieroymusa Boscha u geološki slojevit ali kompaktan svijet majke Zemlje
koja upravo erotikom čuva život od rasapa, a seksualna igra biva =
ona
vrckava i iskričava melodija, koja se kratko javlja unutar orkestracije
slike postanka (i opstanka).
Branka Hlevnjak
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