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  • Mattyasovszky-Zsolnay, László
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  • By the Water (Nymph), 1925

Mattyasovszky-Zsolnay, László (1885 - 1935)

By the Water (Nymph), 1925

Mattyasovszky-Zsolnay, László - By the Water (Nymph), 1925 | 58th Spring Auction auction / 41 Lot
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153x122 cm
oil on canvas
signed lower left: Mattyasovszky

IRODALOM | bibliography
- Mattyasovszky-Zsolnay László festőművész emlékkiállítása.
Ernst Múzeum, 1936.
- Petrovics Elek: Mattyasovszky-Zsolnay László (1885–1935).
Budapest, 1936.

58th Spring Auction / 41. Lot (2018-05-13)
Starting price: 4 200 000 Ft / 11 675 EUR
Estimation: 5 000 000 Ft- 7 000 000 Ft
/ 13 899 EUR - 19 459 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!

58th Spring Auction

Date:

2018. May 13. 18:00 - 21:00

  • Conditions of sale

Exhibited: 1936, Ernst Múzeum Mattyasovszky-Zsolnay László festőművész emlékkiállítása (131-es kép)

Reproduced: Petrovics Elek Mattyasovszky-Zsolnay László (1885-1935) Budapest, 1936, 43. szám

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Study

Forrásnimfa az atelier-ban

A történelem előtti népek mágikus hitvilága különféle istenségekkel kötötte össze a természeti jelenségeket. A görög mitológiában ebből lettek a nimfák, akik ligetek, fák, források és barlangok megszemélyesítő őrzői voltak, szűzies szépségek, szilaj vadászok vagy isteni dajkák. „Se nem emberek, se nem halhatatlanok – írja az antik forrás –, sokáig élnek, ambrosziával táplálkoznak, és az istenekkel táncolnak egy karban. Velük űzik a szilének és Hermés a szerelem játékát a kedves barlangok zugaiban. Fenyők és tölgyek sarjadnak születésükkor, és együtt nőnek fel velük.” A nimfák nem voltak halhatatlanok, elszáradó fájukkal vagy kiapadó forrásukkal együtt múltak el. Kiváló téma egy olyan festőnek, aki a látvány impresszionista és klasszikus iskoláját Manet nyomán társította egymással. Ilyen művész volt a két világháború közötti festészet egyik nagy tehetsége, Mattyasovszky-Zsolnay László, akiért olyan műkereskedő-legendák lelkesedtek egykor, mint Nemes Marcell vagy Joseph Duveen.

Manet nyomán a szabadban

Kevés magyar festő volt olyan szerencsés a 20. század elején, hogy egy jól működő, művészettel foglalkozó vállalat kebelén nőjön fel. Zsolnay-Mattyasovszkynak ez megadatott: gyerekkora összeforrt a családi Zsolnay gyárral. A kerámiafestő üzem után Münchenben tanult, ahol nem a 19. századi akadémizmusért rajongtak már ekkor, hanem Goyáért, Manet-ért vagy épp Velázquezért. Az önmagával viaskodva alkotó Zsolnay-Mattyasovszky 1912-ben jutott el álmai városába, Párizsba, ahol valósággal megrészegítette a francia művészet vérbő festőisége, impresszionistákon edződött színkultúrája és páratlanul modern eleganciája. Imádta Manet-t, magasztalta az Olympiát, de a most vizsgált képén a Reggeli a szabadban iskolateremtő kettősét se nehéz felismerni: a természet viruló zöldjébe kihelyezett, pőrén rózsaszín műtermi aktot. Ahogy Petrovics Elek írta az ötvenévesen elhunyt festő emlékkiállításának katalógusában: „Nagy kultúrájú, előkelő művész volt Mattyasovszky. A nyugodt és szép felülfestés manet-i hagyományainak tisztelője, de a kontúrok feltűnőbb éreztetésében, a folthatás dekoratív voltában és a környezetnek sokszor ornamentális ízű alakításában az impresszionistákra következő (u. n. posztimpresszionista) nemzedék szelleméből is érzünk valamit képeiben.”

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