Max Wechsler schrieb in seinem Nach

Max Wechsler schrieb in seinem Nachruf in "Luzern heute" (4. 12. 97): "Auch wenn man sich davor hüten sollte, das Leben und das Werk von Künstlern sinnvoll zur Deckung bringen zu wollen, so war es im Fall von Hans Schärer aber tatsächlich so, dass die magischen, die absurden, die grotesken, die anarchistischen und karnevalistischen Elemente seiner Bilder durch die Gegenwart des Künstlers eher an Plausibilität gewannen. Schärer war nämlich nicht nur der Direktor seines tollhäusigen Pandämoniums, er war auch der subtile Dompteur der von ihm ins Bild und damit in die Welt gesetzten Wesen - nicht, dass er sie in jedem Falle beherrschte, aber er konnte mit ihnen umgehen.

Results (English) 1:

Max Wechsler wrote in his obituary in "Lucerne today" (4. 12 97): "even if one should be careful sensible to want to bring the life and work of artists, so it was actually so that the magic, the absurd and the grotesque, rather won the anarchist and carnivalesc elements of his paintings by the presence of the artist on plausibility in the case of Hans Schärer. Saeed was not only the Director of Bedlam, pandemonium, he was not that he mastered it in any case also the subtle Tamer of the creatures used by him in the picture and in the world - but he could deal with them.

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Max Wechsler wrote in his obituary in "Lucerne today" (4 12 97): "Even though you should be careful not to try to bring the life and work of artists makes sense to cover, so it was in the case of Hans Schärer but actually so that the magic, the absurd, the grotesque, the anarchist and carnivalesque elements of his paintings rather gained by the presence of the artist on plausibility. Schärer was not only the director of his tollhäusigen pandemonium, he was also the subtle tamer of of not that he dominated them in every case, but he could deal with them - in his image and thus set in the world beings.

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max wechsler wrote in his obituary in "lucerne" (4). 12. 97): "even if one should beware of the life and work of artists to produce useful to cover, as it was in the case of hans is but a fact that the magic, the absurd, the grotesquethe anarchist and karnevalistischen elements of its images by the presence of the artist to being won. is not only the director was his tollhäusigen pandämoniums, he was also the trainer of the subtle image and thus in the world being not that he always had, but he was able to handle them.