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  • Girl in a Blue Dress, 1934

Ecsődi, Ákos (1902 - 1983)

Girl in a Blue Dress, 1934

 Ecsődi, Ákos - Girl in a Blue Dress, 1934 | 79th Winter Auction auction / 57 Lot
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50 x 43,5 cm
Oil on canvas
Signed lower right: Ecsődi 1934

79th Winter Auction / 57. Lot (2025-12-14)
Starting price: 4 400 000 Ft / 12 389 EUR
Estimation: 6 000 000 Ft- 8 500 000 Ft
/ 16 895 EUR - 23 934 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!

79th Winter Auction

Date:

2025. December 14. 18:00 - 23:00

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Study

Irodalom

XCVII. Csoportkiállítás. Békeffi György, Berény Róbert, Ecsődi Ákos, Biai-Főglein István, ifj. Kernstok Károly és Körmendy Frim Ervin festőművészek. Ernst Múzeum, 1928.

Kapócsy Anna: Ecsődi Ákos emlékkiállítása. Új Művészet. 1997/3., 52–53.

Szeifert Judit: A dekorativitás metafizikája. 100 éve született Ecsődi Ákos. Új Művészet, 2002/12., 30–31.

 

A finom rajzosságú, szoborszerű art deco nőalak szinte jelenésként lebeg a szürke háttér előtt. A büsztként komponált figura kék selyemruhája és testfelülete a klasszicista szobrok éteri, időtlen eleganciáját sugározza. Közelhajolva viszont látható, ahogy az erek enyhe kéklése átdereng a márványtisztaságú bőr rózsás pírján. Különösen a hiperrealista részletgazdagsággal megfestett szem körül válik szinte kitapinthatóvá a porcelánszépség életenergiája. A profilkép az alig ismer két világháború közötti festő, Ecsődi Ákos frissen felbukkant alkotása. „Körülbelül 150 kép jelenti az életművemet” – írta Ecsődi néhány évvel 1983-as halála előtt. Nemcsak az időigényes, precízen rajzos realista stílus hátráltatta életműve kiteljesedését. Ahogy a két világháború közötti újrealista tendenciák jegyében induló számos más fiatal festő kibontakozását, Ecsődiét is megakadályozta a világégés és az állami művészetirányítás kénye-kedve. Kapócsy Anna írta rövid pályaképében: „A magyar művészettörténet tele van ilyen kettétört, befejezetlen életművekkel. A történelem oly módon befolyásolta az egyéni és művészi szabadságát, hogy a meg nem alkuvók, sokszor kellő társ, barát vagy őrült megszállottság híján elszigetelődtek, elfelejtődtek.”

Ecsődi az első világháború után tanult a Képzőművészeti Főiskolán, ahol Csók István mester mellett tanársegédként is dolgozott. Egymás után hozta el a Szinyei Társaság díjait, az 1927-es párizsi ösztöndíjat követően pedig rendszeresen kiállított az Ernst Múzeumban. Stílusára hatott a német új tárgyilagosság, a mágikus realizmus és a szürrealizmus, de kimért, hűvösen tökélyre csiszolt formavilága beilleszthető a neoklasszicizmus vagy az art deco stíluskategóriái közé is. (Saját bevallása szerint viszont a Római Iskolához nem kötődött.) Bár megtalálta az utat a modern fiatalokat tömörítő UME társasághoz, inkább a makói gimnázium rajztanáraként húzta meg magát. Ennek a vidéki visszavonulásnak köszönhető, hogy a magyar art deco olyan főművei, mint a Gyöngysoros hölgy (1935, magántulajdon), alig találtak folytatásra életművében. Az általa említett 150 képnek pedig alig harmadát fedezte csak fel a rendszerváltozás után ráirányuló kutatói reflektorfény. A most felbukkant női portré Ecsődi titokzatos, alig ismert birodalmát bővíti egy újabb gyöngyszemmel.

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