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  • Kisses (1992.VI.14.), 1992

Frey, Krisztián (1929 - 1997)

Kisses (1992.VI.14.), 1992

 Frey, Krisztián - Kisses (1992.VI.14.), 1992  | 81th Autumn auction auction / 62 Lot
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69,5 x 49,5 cm
Mixed technique on folded paper
Signed lower left: 1992. VI. 14., Signed lower right: Frey

81th Autumn auction / 62. Lot (2026-10-12)
Starting price: 2 200 000 Ft / 6 014 EUR
Estimation: 3 000 000 Ft- 5 500 000 Ft
/ 8 201 EUR - 15 036 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!

81th Autumn auction

Date:

2026. October 12. 18:00 - 22:00

  • Conditions of sale

Exhibited: {Script:Abstract} Frey úr ír. Ludwig Múzeum – Kortárs Művészeti Múzeum, Budapest, 2022 (kat. 193.).

Reproduced: {Script:Abstract} Frey úr ír / Herr Frey Frei. Szerkesztő: Rieder Gábor. Ludwig Múzeum – Kortárs Művészeti Múzeum, Budapest, 2022, 268. 193. kép

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Study

Irodalom

{Script:Abstract} Frey úr ír / Herr Frey Frei. Szerkesztő: Rieder Gábor. Ludwig Múzeum – Kortárs Művészeti Múzeum, Budapest, 2022.

 

Frey Krisztián életművét mindvégig az írásjelek és az absztrakció egyéni hangú kombinációja határozta meg. Frey megközelítésmódja egyedülálló a hazai művészet történetében, legközelebbi párhuzamaiként olyan nemzetközi alkotókat lehet csak említeni, mint az amerikai Cy Twombly vagy a katalán Antoni Tàpies, akik szintén beépítették a firkált, expresszív írásgesztusokat absztrakt kompozícióikba. Pályakezdése az ötvenes évek közepére esett. Vidéki fogorvos fiaként osztályidegennek bélyegezték, és nem kerülhetett be a Képzőművészeti Főiskolára. Ennek köszönhetően sem a szocreál ideológiája, sem a főiskola konzervatív látványfestői eszköztára nem akadályozta meg belülről fakadó esztétikai világának kibontakoztatását. 1957–1965 között teremtette meg az absztrakt expresszionizmus egyéni variációját, amelyet meghatározó szöveges karaktere miatt „szkripturális absztrakciónak” nevezhetünk. Ezzel a festői univerzummal szerepelt a legendás Iparterv-kiállításokon, majd ezt a nyelvezetet fejlesztette tovább a svájci emigrációban. Frey mindig a személyes őszinteség és a megfejthetetlenség között ingázott. A most vizsgált mű esetében az összehajtogatott papírlap egyes kockáiba írt többnyelvű kézírásos feljegyzések kecsegtetnek a kiolvashatósággal („adios”, „pár csók” stb.). De a szürke ecsettel felvitt görög Khí (Krisztián betűje!) és a festékfoltok együttese áthatolhatatlan, megfejthetetlen absztrakt gesztusrendszerré alakítja az expresszív betűtengert.

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