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  • At the Fount (Golden Age), 1921

Derkovits, Gyula (1894 - 1934)

At the Fount (Golden Age), 1921

Derkovits, Gyula - At the Fount (Golden Age), 1921 | 64st Autumn Auction auction / 113 Lot
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50x50 cm
oil, canvas
Unsigned

64st Autumn Auction / 113. Lot (2020-09-18)
Starting price: 13 000 000 Ft / 36 669 EUR
Estimation: 16 000 000 Ft- 20 000 000 Ft
/ 45 131 EUR - 56 414 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!

64st Autumn Auction

Date:

2020. September 18. 18:00 - 22:00

  • Conditions of sale

Reproduced: Körner Éva: Derkovits Gyula, Budapest, 1968.Oeuvre-catalogue, nbr. 227.; Molnos Péter: Derkovits. Szemben a világgal. Budapest, 2008, 12. kép

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Study

Kezdetben vala Cézanne

„Kezdetben vala Cézanne” – írta egész biblikus módon Kállai Ernő, a legnagyobb modern magyar műkritikus. Az avantgárd botrányhősökkel a hátunk mögött ma már nehéz megérteni, hogy a 20. század eleji művészeknek milyen forradalmi újdonságot jelentett Cézanne festészete. Minden modern festői látásmódnak, ami szerkezetes, geometrizáló vonalak mentén bontja és értelmezi a látványt, az aix-i mester az ősapja. A most vizsgált, Derkovits Gyula által festett árkádiai kompozíció egyértelmű előképe Paul Cézanne Fürdőzők (1898–1905, Philadelphia Museum of Art) című remekműve. Nemcsak távoli reminiszcencia, hanem egyértelmű ihlető forrás: látható az összehajoló fák íve alá szervezett kompozíciós szerkezetben. Derkovits 1920 elején, kevéssel a vizsgált kép festése előtt, annak a Kmetty Jánosnak a műtermébe járt aktrajzolásra, aki a Párizsban látott Cézanne-művek és kubista élmények lázában égett.

Aranykor

A dús zöld vegetációjú tisztáson, a távolba vesző zord, havas hegycsúcsok előtt, egymás felé gótikus katedrálisok boltíveiként hajló – szinte csupasz – fatörzsek alatt áll a Férfi. Mint Ádám a Édenkertben, lehajtott fejjel, de magabiztosan. A kép előterében elfogódott klasszikus aktként ül Éva, miközben a forrásnál egy ló csillapítja szomját. A Teremtéstörténet észrevétlen változik át azzá a derűs görög Aranykorrá, ami az 1920-as évek eleji festészetnek legfontosabb referenciapontja volt. Ebbe a kubizáló, monumentális, mégis klasszikus Árkádiába menekült a Szőnyi-kör a világháború pusztítása után, és ide tartott velük a csoporthoz csak távoli szálakon kötődő Derkovits Gyula. Saját árkádiai világában – az 1920-as évek elején – idilli csoportba fűzött aktok pihennek, fürdőznek és szerelmeskednek.

Nyergesújfalui emlék

„Derkovits Árkádiája nem egy elvont, mitologikus táj, hanem az 1919-es év Nyergesújfaluja, Kernstok Károly idilli szabadiskolája. Itt dolgozott Derkovits és társai emlékezete szerint gyakran lelte örömét abban, ha egy fa árnyékából figyelhette, ahogy a többiek rajzolnak. E képén Derkovits helyett egy nőalak figyeli a kernstoki reminiszcenciákat keltő, fejét a patakra hajtó lovat. A nőben Dombai Viktóriát sejthetjük, Derkovits képeinek állandó szereplőjét, feleségét és egyetlen aktmodelljét. A piramidális kompozíció centrumában a lehajtott fejű, távoli figura pedig egyértelműen önéletrajzi ihletésű, aki – et in Arcadia ego – az egyetemes gond, bánat és szomorúság allegóriája” – írta a festményről tanulmányában Hornyik Sándor. Bár a Tanácsköztársaság rövid idején működő művésztelepet bezárták, Derkovits festményei – mint ez a kép is tanúskodik róla – még évekig ebből az utolsó boldog, idilli időszakból táplálkoztak. Nyersgesújfalu számára tényleg az Aranykor volt.

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