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  • By a Garden Table, 1930

Farkas, István (1887 - 1944)

By a Garden Table, 1930

Farkas, István - By a Garden Table, 1930 | 22. Auction auction / 59 Lot

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45.5x54.5 cm
Oil on canvas
Signed and dated lower left Farkas Paris 1930

22. Auction / 59. Lot (2003-05-16)
Starting price: 4 500 000 Ft / 12 306 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!

22. Auction

Date:

2003. May 16. 17:00 - 21:00

  • Conditions of sale

Literature

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Study

Salmon, André: Étienne Farkas. Párizs, 1935.
Nyilas-Kolb, Jenő: Farkas István, Budapest, 1935.
Pataky, Dénes: Farkas István, Budapest, 1970.
S. Nagy, Katalin: Farkas István. Budapest, 1994.


"The most difficult and final task of the artist is the representation of giving up of the constant , highly refined, simple and unique charm..." Nietzsche suggests avoiding the empiric forms instead of mechanical and detailed representation of the spectacle idealizing the real art which inspires the deep relationship coming through the various surface of the things.
In the history of hungarian painting we can find some artists who gave up cosistently the attractive and graceful gestures of creation for the sake of revealing a highly refined, overal truth. They have the common desire: to see and make the peole see the hidden reality behind the outer mask of the things.

István Nagy, János Nagy Balogh, even Simon Hollósy in his last artistic period concentrated to the extremely simplified motifs avoiding every accidental parts with a nearly ascetical self-control. They gave up with similar determination the attractive, but concidered being useless artistic gestures.
We can also see an another artistic way coming through the ephemeral cover of the empiric world.

The depiction with uncertain space full of mysterious, amorphous figures give impulsive associations to the viewer orientating them towards internal ways with doubtful real purpose.
On the basis of the French symbolistic artist'words,Odilon Redon we can get closer to the interntion of the artists such as Lajos Gulácsy or the artist of this painting in question, István Farkas.
" The sense of mystery is our being always in ambiguity, in double and triple points of view, in the forms just in the first steps of coming into being and in the ones will be forming by the inner state of the spectators. Everything becomes more suggestive because of their ephemeral caracters."

Desregard the sylistic features of the paintings of Farkas and only list the characters of the depicted scene and its objective motifs, we receive almost an idyllic episode.

At the table in a comfortable armchair a woman in yellow dress is sitting having her child in front of her knees who is building a sand fort. However the pale colours, the rusty brown marks give a shiver, mysterious vision.
On the dreamlike stage there are seperately the accessories of a strange comedy, the participanst of the artist's world full of visions.

The wellknown motifs from the paintings of István Farkas appear in front of us: the threatening rising figure of an adult person, a child hidden under the table, the house with its threatening windows, tottering brown gate, bare trees with a locomotive blowing white steam in the background. Appearing details from the mist of remote memories among which the subconscious makes a subjective order.
The works of Istvan Farkas are the works of the artist who lived his artistic work, creation of his works as a recover from the sore of his individuality. He gives evidence of his sensitive psychological character in his paintings showing a unquiet internal tracing and trying to find his release of his anxiety through some intuition, and guess.
He does not give unambiguous references, his symbols are not clear, and rather spiritual expecting serious immersion from the viewer.
If somebody wishes to have a joy looking at this picture, he must return again and again to discover it.
Indeed to understand the artist's works there is no usual and easy way. This is the outstanding and incredible power of his works. You can see only questions, the real answers must be found by the spectator himself at the end of a long purifying internal way.

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