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  • Adolesence (The Music), 1952

Polóny, Elemér (1911 - 1991)

Adolesence (The Music), 1952

Polóny, Elemér - Adolesence (The Music), 1952 | 77th Spring Auction auction / 35 Lot
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128, 5 x 82 cm
Oil on canvas
Signer upper right: E. Polony 52

77th Spring Auction / 35. Lot (2025-05-28)
Starting price: 3 600 000 Ft / 9 929 EUR
Estimation: 4 800 000 Ft- 7 500 000 Ft
/ 13 238 EUR - 20 685 EUR

Attention! The values indicated in other currencies than HUF are for infomational purposes only. The basis of the exchange rate is always the one valid on the date of payment.

For this work of art, we provide certificate of origin!

77th Spring Auction

Date:

2025. May 28. 18:00 - 23:00

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Study

Irodalom

Polóny Elemér festőművész nagysikerű kiállítása Budapesten. Heves vármegye, 1941. május 10.

Beszélgetés Polóny Elemérrel írókról, színészekről és festőkről. Színházi Magazin, 1943/50., 32.

Székely Sándor: Magyar festő emigrációban: Polonyi Elemér és művészete. Új Magyar Út, 1955/2–3., 92–94.

Polony Elemér festőművész kiállítása (USA). Budapest Kiállítóterem, Budapest, 1984.

 

Lágyan modellált, karcsú, meztelen nők zenélnek az álomszerű jeleneten. Arcukon misztikus elrévedés ül. A bal oldali állva pengeti régimódi gitárját, a jobb oldali térdére világos drapériát fektet, a földön ülő pedig finom mozdulattal babrál hosszú hajával. Mindhárman maguk elé néznek énekelve, de mindegyik más-más irányba, felerősítve a befelé forduló áhítat auráját. Szobrászian formált, rózsaszínes-terrakotta színű testük egyszerre idézi az itáliai Novecento neoklasszicizmusát és Picasso harlekinjeinek melankolikus világát. Hátuk mögött színpadi függöny és a bohócok ikonográfiájából ismerős káróminta. A különös összhatású kompozíciót az a Polóny Elemér jegyzi, aki a második világháború után egy rövid időre Itáliában talált otthonra. Ez magyarázza a most vizsgált kompozíción a Novecento és a pittura metafisica esztétikai hatását. A festő – ahogy Székely Sándor írta 1955-ös tanulmányában – „a domináns szellemi valóságot akarja megszólaltatni a fizikai jegyek minimumra való redukálása kapcsán a hűvös kékek, aranysárgák, lágy rózsaszínek és zöldek egymásba szőtt harmóniájával s bennük, mint zenei dallam jelentkezik az elvonatkoztatott realitás, a távoli absztrakt világ”.

Polóny Elemér karrieríve egészen rendhagyó a magyar művészet történetében. 1970 körül az Egyesült Államokból – nevéről lehulló ékezettel – tért haza kiállítani Picassót idéző groteszk figuráit. Polónyi ahhoz a szerencsétlen nemzedékhez tartozott, amelynek pályakezdését a második világháború lehetetlenítette el. Az Aba-Novák és Rudnay szárnyai alatt tanuló fiatal tehetség 1938-ban hiába nyerte el a főiskola aranyérmét, majd a következő évben a Szinyei Társaság díját, hamarosan a Don-kanyarban rajzolhatott. Drámai hatású, expresszíven realista alkotásai többségét megsemmisítette az ostrom alatt. Mint sokan a háborús nemzedékből – Hantai Simon vagy Reigl Judit –, 1945 után elhagyta az országot. Rómában tanult ösztöndíjasként, majd Firenzében ismerkedett a trecento Itália művészetével. Végül választott hazájában, az Egyesült Államokban telepedett le. Innen látogatott vissza a hetvenes években, megismertetve modernista formanyelvét a legvidámabb barakk közönségével is. De a most felbukkant, neoklasszicista ihletettségű század közepi alkotása még a Polóny életművét ismerők számára is meglepetést okozhat. 

 

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