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  • Bernáth(y), Sándor
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  • Horseshit of Szentendre, 1973

Bernáth(y), Sándor (1949 - 2012)

Horseshit of Szentendre, 1973

 Bernáth(y), Sándor - Horseshit of Szentendre, 1973 | 2. Postwar and Contemporary Auction auction / 55 Lot
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95x100 cm
Oil on canvas
Signed lower left: 973 Bernáth/y

2. Postwar and Contemporary Auction / 55. Lot (2023-04-21)
Starting price: 4 600 000 Ft / 12 953 EUR
Estimation: 5 500 000 Ft- 8 500 000 Ft
/ 15 487 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!

2. Postwar and Contemporary Auction

Date:

2023. April 21. 18:00 - 21:00

  • Conditions of sale

Exhibited: Muddy things I., Neon Galéria, Budapest, 2010, Y - Bernáth/y Sándor emlékkiállítása, A38 kiállítóhely, Budapest, 2012

Reproduced: Scharz auf Geil 72’82’ – Ferencvárosi pincegaléria, Budapest, 1982 (kat.), Zombori Mónika: Bernáth/y Sándor, Neon Galéria, 2012, drMáriás: B.S. úr Y-ban, Balkon 2012/3.

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Study

Sokféle ikon született Szentendréről, a „festők városáról”, a barokkos ívű városházáról, a kis utcák szerkezetesre rendezett homlokzatairól, az sem kérdéses, hogy a Vajda Lajos Stúdió vad dadaistái kiforgatták polgárosodó jólneveltségéből az álmos városkát – de senkinek sem jutott eszébe megörökíteni a lócitromok nyomait a Duna-parton! Senki másnak, mint Bernáth(y) Sándornak, aki punkos dühvel és naiv bájjal festette le a gát íves támfalát, a földszintes, élénk színű házacskákat, melléjük biggyesztve a villanydróton üldögélő madarakat, a korlátot támasztó helyi „kisegzisztenciát” és persze a lovaskocsik – gondosan leaszfaltozott főútra hullajtott – bűnjeleit. A gát falához szorított házsorban Bernáth(y) úgy látta meg a „illatozó” allegória lehetőségét, mint tanult kollégája, Méhes László a langyos vizű vállalati üdülők amatőr fotóiban. Az autodidakta művész idoljának, Csontvárynak a nyomán nyúlt a merész színkontrasztokhoz. Pályája ekkoriban, a 70-es években indult. A szocialista vidék gyáripari munkásai közé beilleszkedni nem tudó Bernáth(y) ekkor talált rá a képzőművészetre a szomszédos faluból, Mezőszemeréről származó Bukta Imrével együtt. Mert nagyot álmodni, a szentendrei Duna-partra odafantáziálta a Kádár-kori szocmodern távolba vesző betonmonstrumát is mint a hivatalos utópia rekvizitumát. Az előtér viszont szemtelen módon gúnyolja ki a magasztos álmokat, beleverve a nézők orrát a bűzölgő 1973-as valóságba.

Egy évvel korábban, tájtanulmányok készítése közben ismerte meg ef Zámbó Istvánt Szentendrén, aki bevezette az underground világába. Bernáth(y) különös színfoltja volt a színtérnek, nyughatatlan őspunk és technoúttörő, a szocialista yrealizmus megálmodója és egyszemélyes prófétája. (Kiparodizálva és saját képére alkotva a valóságot, mindennek a végére vagy elejére egy Y-t biggyesztett.) Pontosan írta körül senkiéhez nem hasonlítható karakterét pályatársa, DrMáriás arról az A38-on rendezett kiállításáról írt kritikájában, amelyben a most vizsgált festmény is szerepelt: „Bernáth Y Sándornak volt spiritusza, kemény véleménye, elképesztő ötletei, karcos humora, bölcs kifinomultsága, amire külsőjéből is következtetni lehetett, hiszen úgy nézett ki, mint egy igazi rejtői figura, mondjuk Piszkos Fred reinkarnációja, a bölcs szobapilóta Y gróf, aki miközben mindig elegáns, jólöltözött, a legjobb kalapokat viseli s tisztaságtól ordít a szakálla, titokban sztahanovistákat, lószart és konyhakerti szexjeleneket festeget gonosz vigyorral az arcán.”

R.G.

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