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Kádár, Béla (1877 - 1956)

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 Kádár, Béla - Friends | 22. Auction auction / 39 Lot
  • We provide certificate work of origin for every purchased work of art
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101x72.5 cm
Tempera on paper
Signed lower right Kádár Béla

22. Auction / 39. Lot (2003-05-16)
Starting price: 4 500 000 Ft / 12 332 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:

Style:  Avant-Garde

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Study

Bedő, Rudolf: Kádár Béla emlékkiállítása, Kat. Bp., MNG, 1971.
Sümegi, György: Kádár Béla önéletrajz-vallomása. Művészet, 1987/11-12. Ill. 56-61.
Kádár Béla. Műgyűjtők Galériája - Thebes Gallery, Budapest-Toronto, 1992. Kat. Bev.tan.: Szíj Béla.
Gergely, Mariann: Kádár Béla. Mű-Terem Galéria, Bp., 2002.




Although Kádár did not date this tempera painting of his, on the basis of its typical style the forming of the art deco of the 1930s, its more obscure and gloomy version can be easily recognized.
Kádár started the new decade with success: supported by Miklós Rózsa he becames a regular exhibitor of the Tamás Galéria from the 1930s. He has more and more frequently his own exhibitons or joins to group exhibitons too. His refreshed painting is popular among the press and the public as well.


The theme combined with still life is typical of the whole oeuvre of Kádár, only - making a musical comparison- the instrumentation changes.
His bathing nudes from 1919 still show the strong influence of Cézanne or the group of the Eights; built with stronger bruswork it characterized both a landscape and a figure.
In his pictures at the end of the 20s the decorative, ornamental search of harmony is combined with the constructive formal questions derived from the cubism of Picasso and Braque.
After ten years Kádár gives up analysing, his female figures loose their earthly gravitation.
Softing of the outlines breaking in the sharpener and stronger edges he turns back to the classical way of forming which was not strange at all in the artistic context of the 1930s.

Kádár who was especially open to build in new elements into his art, this time he formed his female figures with Hellenistic taste. The two figures are facing in alternate angle. One of them in a pose of contrapossto, the other one repeats the classical pose even in her sitting too. Their latent dialogue seems to be represented in the picture.
The plain drapery softly falling down recalls the classical forms of pathos, as the female figure standing with her back to us gives the distant association of the antique torsos.

The profile of the nude standing with her back to us appears two more times until she has nothing but only a sign, inspiring that she has vanished both in space and time.
If we take a look at the female figure woven from the shadow in the way like that, the fruits of the still life coud be the symbols of transience, if Kádár's decorative instinct standing above all did not light more strongly behind the melancholic veil embracing the painting. The saturated symbolism and the enthusiastic virtuosity of style get on well together in this master piece of the artist.

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