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  • Doubled Self-portrait

Szobotka, Imre (1890 - 1961)

Doubled Self-portrait, 1920

 Szobotka, Imre - Doubled Self-portrait | 19th Auction auction / 131 Lot
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67x54 cm
oil, canvas on cardboard
signed, on the bottom right corner: Szobotka I.

19th Auction / 131. Lot (2002-09-11)
Starting price: 8 000 000 Ft / 21 801 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!

19th Auction

Date:

2002. September 11. 17:00 - 21:00

  • Conditions of sale

Subject :  Portrait Portrait

Style:  Avant-Garde

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

Exhibited:
Szobotka Imre és Varga Oszkár gyűjteményes kiállítása. (The Exhibition of Imre Szobotka's and Oszkár Varga's Works.) Belvedere, 1921.
(presumably)
Szobotka Imre Emlékiállítás. (Imre Szobotka Retrospective Exhibition.)
Szobotka Imre művészete az 1910-es években. (Imre Szobotka's Art in the 1910s.) Göcseji Múzeum, Zalaegerszeg, 1982.

Reproduced:
Szobotka Imre emlékiállítás. Hungarian National Gallery, 1971.Catalogue.


Iván Hevesy, famous Hungarian writer and critic wrote about Szobotka in 1921 that he was the only Hungarian painter who had been able to get to the real, abstract Cubism and who attempted to find new ways starting from it.
In 1911 Szobotka visited an exhibition of the Cubist artists who presented their works at the Salon des Independats. In the following year the young Hungarian painter already studied in Paris, in the free school La Palette led by Metzinger and Le Fauconnier. In 1913 and '14 he exhibited together with Chagall, Metzinger and Gleizes and Apollinaire wrote appreciatively of his pictures in the columns of the legendary Montjoie. His art was acknowledged in Hungary as well.
The promising start of his career was blocked by the outbreak of World War I and the internation that afflicted the foreigners. Szobotka was forced to spent four more years in Bretagne and could return to Budapest only in 1919. The picture under discussion is a work in which the artist tried to absorb the experience of coming out from isolation and having an audience again. 'While I was the painter and the spectator in one person, the form of expression that I created was absolutely sufficient for me. As another spectator had been emerged, I would have needed to explain things.(…) In the Doubled Self-Portrait I wanted to give a visual explanation of the differences and similarities of the two aspects' - he wrote.
The works painted after his return are all tell us about the steps taken towards being clear to all; the artist, so to say, 'tamed' the language of Cubism. Szobotka's endeavor coincided with the European tendency of that time, the aim of which was to restore the traditional values in painting after the war. The most outstanding figures of Cubism- with Picasso among them - reconsidered their earlier principles and turned towards the forms of expression in the classical and traditional ways. As Szobotka wrote, his pictures gradually neared to a kind of naturalism where the aim of the picture is actually lost in the joy felt over the beauty of nature.
The picture under discussion illustrates the first phase of this new aspect. The Cubist forming, which is built out of planes, is still stressed, but the organic view of the concrete-sensual world is not obscured by the logical structure of the picture any longer. The setting is virtuous and daring, the forms are built up of plains and are put in a homogenous colorit. It is an interesting idea to put next to each other the sight reflected in the mirror and the painted picture which is re-written by the application of the Cubist principles; it suggests a programmatic intention and leads the viewer into philosophical depth.
The artistic value of Szobotka's works was early recognized in Hungary as well. Prominent collectors - like Imre Oltványi or Lajos Fruchter- bought his paintings and critics wrote appreciatively of his art. The picture presented here came from one of the most illustrious art collections. This is a masterpiece, a significant piece of the painter's period that was closely related to the then contemporary international trends.

Péter Molnos

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