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  • Herons, 1943

Hegedűs, Endre (1913 - 1945)

Herons, 1943

Hegedűs, Endre - Herons, 1943 | 16th Auction auction / 128 Lot
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51x45 cm
oil on canvas
signed lower right Hegedűs Endre 1942

16th Auction / 128. Lot (2001-10-12)
Starting price: 100 000 Ft / 275 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!

16th Auction

Date:

2001. October 12. 17:00 - 21:00

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Subject :  Life

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Study

The art of Endre Hegedűs

Hegedűs's estate was lurking until the later times. Even when one or two of his pictures appeared sometimes in the market, they were doomed to anonymity. The pictures that emerged from the family's possession can raise a sunk era of Hungarian painting back into its worthy place. They also help us to understand a generation whose entrance into the profession coincided with the beginning of the war. Unfortunately, there are only fragments of different oeuvres that survived the tragic years, still, they show such intentions which make one's knowledge of those years and intellectual trends more precise.
Hegedűs was born in a Jewish family. He studied in Munich where he met his later fiancée, Olga Koch. In Munich and later in Hungary he worked for different papers as a caricaturist and illustrator. His painting career began in the 1930s. His Christmas Carol Singer going under hammer now was displayed in the exhibition of Nemzeti Szalon (National Salon) in 1936. The following year he presented four other pictures at the exhibition of Spring Salon, among them his Self-portrait which is only known from reproduction. From 1939 he could not publish his reproductions and illustrations any more. In 1944, at the time of confiscating the Jewish estates, a fomenter article were published in a paper where photos of the family's house were also attached. This article is our only source where Hegedűs ironic fresco pained on the wall of the dining room can be seen. The house itself was perished by a bomber.
The artist's whole oeuvre - which means only 9 years - brings up the question of assimilation. In the earlier pictures the naive forms of Catholicism manifesting in folk religion is represented by forms showing the effects of Dutch painting. In his earlier graphic he showed a propensity of typically Hungarian themes and stylised the elements of Hungarian folk art.
His later pictures show more discerning idylls; this must have been the effect of his experiences in Italy. His figures are more aerial, the setting of village landscape was changed by a pantheist world familiar from the time before Raffaello.
The pictures Land of Tales, Spring and Girl with Parasol show this stylised beauty turning into grotesque. The picture Self-portrait with Olga also suggests a Renaissance antitype with its classical setting, just as the Little Girl with Teddy Bear (Cat. No.121). On the other hand, both portrait is impregnated by the emotional personality which is not characteristic of classicism.
The latest pictures are already the examples of escape from reality; Garden of Eden (Cat. No. 123) or the old men climbing the steps (Cat. No.124) are two different representations of losing illusions. The one is facing with the world one used to believe in, the other is a resignated reckoning.
It is not easy to place Hegedűs estate among Hungarian and universal trends; the possible points of attachment are difficult to define because of the snippetiness of his oeuvre and the indefinite data but one can be sure that the slowly blooming history of his art will influence the present history of Hungarian art.

Topor, Tünde

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