During the avant-garde of the early twentieth century, many works of modernist artists retain the imprint of Impressionism from the second half of the nineteenth century. In the work On the banks of the Amper River, you can see quick brush strokes, with a rich texture, similar to those of artists like Monet.
Another credit of the Impressionists is the investigation of theories related to color, formulated thanks to the advances made in the nineteenth century in optics and their application in painting. The use of complementary contrasts even on surfaces that naturally do not contain that color - in this case, the pink on the trunk of the tree whose brightness is enhanced by the green near it - are impressionist discoveries, which modern artists will make full use of.
In works painted in the open air, the Impressionists will focus on the properties of natural light: how it is reflected and refracted and what are the chromatic effects resulting from these phenomena. A special interest in light can also be seen in this work, but unlike the Impressionists, Tibor Ernő uses not only colors to reproduce light, but also pure white and colors mixed with a lot of white. A preference for a pastel color palette can be seen in many artists - such as Nicolae Grigorescu - who, although strongly influenced by the Impressionists, cannot be categorized as such.
Tibor Ernő made this serene and fresh work in 1912 when he was on a trip to Dachau. In 33 years he will die in the same place, in the camp where he was deported.
The painting shows a simple, natural scenery with a tree in the foreground, treated with quick and wide brush strokes, keeping the freshness of the impression in the open air (made alla-prima). The work participated in The Spring Exhibition in Bratislava in 1912 and has extra importance because there aren't known many works of the artist made in Dachau.
On the banks of the Amper River
Oil, cardboard, 49 x 44 cm
Signed and located at the bottom left in a paste to cardboard:
TiborErno / Dachau
On the back:
1. Label Pozsonyi tavaszi kiállitás 1912
2. Label with printed number 83
3. Number written in blue on the cardboard: 341.
4. Pencil inscription on cardboard:
Az Amper partján
olajfestmény Ára 200 kor
Condition of the work:
relatively poor (lack of pigment on the lower right side and the work is dirty)
Oradea, 1884 - Dachau, 1945
The special atmosphere of his hometown was a source of inspiration for his life and art.