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  • Kelemen, Károly
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  • Blue Love on No.8., 2002

Kelemen, Károly (1948 - 2024)

Blue Love on No.8., 2002

 Kelemen, Károly - Blue Love on No.8., 2002 | 77th Spring Auction auction / 147 Lot
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120 x 160 cm
Oil on canvas
Signed lower left: KK, On the reverse: 120 x 160 cm, Kelemen 2002 - Blue love on no.8.-

77th Spring Auction / 147. Lot (2025-05-28)
Starting price: 4 000 000 Ft / 10 901 EUR
Estimation: 5 500 000 Ft- 7 500 000 Ft
/ 14 988 EUR - 20 439 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

  • Conditions of sale

Exhibited: Átfestett ikonok. Ernst Múzeum, 2012.

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    More than 100.000 Hungarian works of art

  • We provide certificate work of origin for every purchased work of art
    We provide certificate work of origin for every purchased work of art

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Study

Irodalom

Kelemen Károly. Retrospektív. 1975–2002. Szerk.: Kelemen Károly, Jelenkor, Pécs, 2002.

Kozák Csaba: Átfestett ikonok. Új Művészet, 2012/6., 16–18.

Radikális eklektika. Mintha a szteroidokkal felpumpált Cézanne megkapta volna a fauve-ok legharsányabb színpalettáját. A lágy dombok között egy óriás magenta bimbókat hajtó kubo-gótikus vörös fa magasodik, a háttér Mont Sainte-Victoire-ját pedig lángolóan eleven színsávok írják át posztmodern ecsetjátékká. Középen rózsaszín kubusok (ne felejtsük Cézanne tanítását a geometrikus idomokról!) szertelen halma tölti meg. Bár a festmény minden négyzetcentiméterét hasonló intenzitású expresszív részletek teszik szőnyegszerűen elevenné, az igazi főszereplők mégis azok a kék játékmackók, akik a címbeli óriási nyolcasból formált ágyon kerülnek intim helyzetbe. Az angol cím szerelmet ígér, erotikus jelenetté lényegítve át a harsányan életigenlő kompozíciót. A festmény szerepelt Kelemen nagyszabású, Ernst Múzeumbeli életműkiállításán 2012-ben. Kozák Csaba elemezte találóan – a bemutatóról írt kritikájában – Kelemen művészettörténeti idézetekből táplálkozó radikális eklektikáját: „Kelemen mindenevő, mindenfestő. Fantáziájának a modern stílusok nem szabnak határt, sőt arra késztetik az alkotót, hogy azt újra és újra felidézze, átírja, parafrazeálja. Munkái hemzsegnek a kultúrtörténeti, művészettörténeti, filozófiai, irodalmi utalásoktól (Picasso, Cézanne, Gauguin, Klee, Malevics, Kandinszkij, Kassák, Heidegger stb.) A konceptualizmus ugyanúgy megérintette, mint a radikális eklektika jegyében az új szenzibilitás, miközben avantgárd művészként arra is képes volt, hogy fityiszt mutasson annak. »Posztmodernkedik«. Gyakorlatilag úgy sajátítja el és ki a dolgokat, hogy csak a bennfentesek ismernek rá a forrásokra. »Idézőművész«. A »kisajátítás«, az „appropriation art« egyik legjelesebb hazai képviselője.”

 R.G.

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