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  • Color Explosion, 1967

Tót, Endre (1937 - )

Color Explosion, 1967

 Tót, Endre - Color Explosion, 1967 | 72nd Autumn auction auction / 43 Lot
  • We provide certificate work of origin for every purchased work of art
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48,5x70 cm
Tempera on paper
Signed lower left: Tót '67

72nd Autumn auction / 43. Lot (2023-10-10)
Starting price: 1 700 000 Ft / 4 795 EUR
Estimation: 2 400 000 Ft- 3 600 000 Ft
/ 6 770 EUR - 10 155 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!

72nd Autumn auction

Date:

2023. October 10. 18:00 - 23:00

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  • Biggest Hungarian painting collection
    More than 100.000 Hungarian works of art

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Study

Irodalom

Perneczy Géza: TÓTál mellé. Tót Endre könyv. Új Művészet, 2003/10., 43.

Warum male ich? Endre Tót. Szerk.: Balázs Kata – Heszky András, acb ResearchLab / acb Galéria, Budapest, 2022.

Mikor Tót Endre, a magyar konceptuális festészet doyenje tavaly kiállította az egész életében titkolt, szenzációként robbanó, az 1980-as évekből származó gesztusképeit, akkor okkal idéződött fel értő pályatársa, Perneczky Géza korábbi megállapítása: „Talán Tót volt a huszadik század második felében az Amszterdamtól keletre élő művészek között a legtüneményesebb festőtehetség. De Tót önként hagyott fel a festészettel, egy menetközben megismert és fontosabbnak érzett igazság kedvéért.” Ez az „igazság” a konceptuális művészet filozofikus, klasszikus festőiséggel szemben álló, elméleti alapállású műtárgykészítési folyamata volt, amely gyökeresen átformálta az 1970-es évek friss kortárs művészetét. Tót is eldobta az ecsetet, pedig első magára találása a nyers gesztusfestészet hatása alatt következett be, az amerikai absztrakt expresszionizmus bűvkörében. Ezt látjuk a most vizsgált korai művön is. A sárga, narancs, rózsaszín, fehér és zöld színsávokat de Kooning-i erővel kente fel az alapra, majd a Franz Kline feketéit idéző extatikus festékcsöppöket ejtő, drámai ellenpontokkal teljesítette ki a kompozíciót.

Tót a pályakezdésére visszaemlékezve mondta – az eltitkolt képei kapcsán adott interjúban –, hogy már tizenkét évesen olajfestékkel dolgozott. Az Iparművészeti Főiskolán folytatott tanulmányaitól függetlenül talált rá az informel absztrakciójára. „A hatvanas évek elején – emlékezett vissza – TÓTális magányban és elszigeteltségben kezdtem el az informel műveimen dolgozni, olyan vehemenciával és gyorsasággal, ami szinte példátlan volt a magyar művészetben előtte. A piszmogás a vásznon idegen volt tőlem.” Az információhiányos korszakban a Zuglói Körben kapaszkodott egymásba az a néhány fiatal művész, aki a nyugati nonfiguratív kortárs trendek felé fordította figyelmét. Ebben a félunderground tásaságban bontakozott ki Tót „angyalföldi absztrakt expresszionista korszaka”, már amennyire ki lehetett bontakozni a folyamatosan betiltott kiállítások közepette. Az 1968-as legendás Iparterv-bemutatón csurgatott, gesztusnyomokkal teli – fotókkal vegyített – képekkel szerepelt. A most felbukkant alkotás ennek a korai periódusnak, az angyalföldi absztrakt expresszionista korszaknak ritkaságszámba menő képviselője.

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