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  • Nyári, István
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  • Gruesome 4 some, 2001

Nyári, István (1952 - )

Gruesome 4 some, 2001

 Nyári, István - Gruesome 4 some, 2001 | 80th Spring Auction auction / 205 Lot
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150 x 200 cm
Acrylic on canvas
Signed lower left: Nyári 2001, On the reverse: exhibition label of Várfok Galéria

80th Spring Auction / 205. Lot (2026-05-18)
Starting price: 4 400 000 Ft / 12 028 EUR
Estimation: 6 000 000 Ft- 8 500 000 Ft
/ 16 402 EUR - 23 237 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!

80th Spring Auction

Date:

2026. May 18. 18:00 - 23:00

  • Conditions of sale

Reproduced: Nyári istván. harminc év munkái 1974–2004. Benedek Mari, Budapest, 2004.

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Study

Irodalom

Nyári István. Harminc év munkái 1974–2004. Benedek Mari, Budapest, 2004.

 

„Munkásságom se nem ironikus, se nem giccses; optimizmus árad belőle, hogy általa az emberek jobban érezhessék magukat” – jelentette ki Jeff Koons, a mai pop art kortárs amerikai szupersztárja, aki csillogóan tökéletes műveiről ismert. A magyar szürrealisztikus fotórealizmus nagymestere, Nyári István hasonló magabiztossággal idézi meg a giccs hiperesztétikus jegyeit. Mindketten iróniával körítve vetették fel a banális témák és érzületek intellektuális érvényességének nagy kérdéseit. Nyári nagy méretű festményén vörös rózsákból alkotott szőnyeget, és ráállított négy bűbájos kiscicát. A felülnézetből ábrázolt macskák, nyakukba masnival, gombolyagokkal játszadoznak. Bár a kép 2001-ben készült, még azelőtt, hogy az internetet elárasztották volna a cicás tartalmak, Nyári pontosan ugyanazt az érzelmi válaszreakciót – a totális „elolvadást” – váltotta ki cukiskodó témaválasztásával. De mindehhez az ironikus-kritikus távolságtartást lehetővé tevő felülnézeti látószöget választotta, így a gazdik női és férficipői is belefértek a kompozícióba. Nyári a fényképezőgép pontosságával dolgozik: nemcsak a cicák selymes bundáját jelenítette meg tökéletesen, hanem a selyemmasnik aranyszálainak csillogását, a bőrcipők ráncainak száraz árkait vagy épp a fekete lakkfelületen tükröződő vörös reflexeket. Ahogy 2002-ben Készman József írta képeiről: „A barokkosan tobzódó, szuperrealista részletességgel megfestett látványfelületek segítségével csupa valóságos részletből létrehozott, személyes hipervilágot hoz létre.”  

 

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