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  • A. Tóth, Sándor
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  • Escaping Nymph, 1933

A. Tóth, Sándor (1904 - 1980)

Escaping Nymph, 1933

A. Tóth, Sándor - Escaping Nymph, 1933 | 20th Auction auction / 106 Lot
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89x66 cm
oil on canvas
signed, on the bottom right corner: A.Tóth S 1933

20th Auction / 106. Lot (2002-12-06)
Starting price: 4 500 000 Ft / 12 334 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!

20th Auction

Date:

2002. December 6. 17:00 - 21:00

  • Conditions of sale

Subject :  Nude

Style:  Art deco

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Study

Exhibited:

A. Tóth Sándor gyűjteményes kiállítása. Frankel Szalon, Budapest, 1933.
A. Tóth Sándor gyűjteményes kiállítása. Fáklya Klub, Budapest, 1974.
A. Tóth Sándor gyűjteményes kiállítása. Xantus János Múzeum, Győr, 1976.
A. Tóth Sándor : Párizsi évek. Kisfaludy Színház, Győr, 1981.
A. Tóth Sándor: Rimaszombat, Párizs, Pápa. Helytörténeti Múzeum, Pápa, 1984.
A. Tóth Sándor emlékkiállítása. Szombathelyi Képtár, 1994.
A. Tóth Sándor: Párizs-Pápa, Ernst Múzeum, Budapest, 2001.
Sándor A. Tóth: Peintre et marionetteste. Isntitut Hongrois, Paris, 2001.

Reproduced:
A. Tóth Sándor emlékkiállítása. Szombathelyi Képtár, 1994.
Tóth, Gábor Sándor: A. Tóth Sándor. Budapest, 2000.

Literature:
Szíj, Béla: A. Tóth Sándor kiállítása Pápán. Művészet, 1962/2.
Heitler, László: A. Tóth Sándor párizsi évei. Művészet, 1982/4.
Tóth, Gábor Sándor: A. Tóth Sándor. Budapest, 2000.

At the exhibition of the Frankel Salon in 1933 A. Tóth's pictures told the audience about the influence of the latest avantgarde of Paris. In these days, according to their style the critics would classify them into the decorative line of the Neue Sachlichkeit, according to their themes the would get a place among the works of the artists of the progressive circle around Kassák. Though the satirical critical realism of the Man Shoveling Snow or the Eating Man evoke Gyula Derkovits's pictures, a more cheerful side of A. Tóth's painting was also revealed at the exhibition. In his Saint Christoph, for example, the bitter sarcasm gave up its place to a kind of naiveté and decorative simplicity. However, the most graceful piece of the exhibition was not the one mentioned above but his Escaping Nymph. The work is a real Paris-pictures- even if it was made in Pápa.
Tóth graduated form the Academy of Art in 1926. He was the student of Gyula Rudnay and Oszkár Glatz. In 1928 he went to England and stayed there almost a year. The following station of his study-tour was Paris, where he exhibited his pictures at the Salon d'Automne in 1929. In Paris he learned Géza Blattner's famous marionette-theater, and he fell in love with the art immediately. He spent three years in Paris, and during this time he became Blattner's right-hand man. After his return to Hungary, the painter regularly sent plans to Blattner. He made figures for the prizewinning performance of the The Tragedy of Man, which was presented at the World's Fair in Paris in 1937. He did not give up painting, either; his styles and motifs reflected the influence of his experiences in Berlin and Paris for a long time.
The Escaping Nymph is special not only because of its cheerful theme, but also because of its style, which is closer to French Cubism than to German Expressionism. However, the simple, unmixed colors, the classical lines and the forms, which are almost abstract, go beyond the borderlines of Cubism. The build and the face of the nymph evoke Picasso's and Léger's art of the 1920s. In the Classicism of the 1920s Picasso often returned to Cubism; an exciting piece of this era is his Women Rushing on Beach, which let us peep into Post-cubism, which influenced Tóth's art as well. However, the modeling and the simple geometric motifs in the Hungarian painter's pictures made in Paris evoke rather Léger's compositions. In the 1920 Léger broke away from the world of machines, his forms and colors were simplified, his pictures were lighter and more cheerful than before. The picture discussed here can be compared to the French painter's pieces made in that period- one of his masterpiece, the Two Dancers can be mentioned at the first place.

Hornyik, Sándor

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