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  • Klotild Palaces with the Elisabeth Bridge, 1912

Színes, Elemér (1886 - ?)

Klotild Palaces with the Elisabeth Bridge, 1912

Színes, Elemér - Klotild Palaces with the Elisabeth Bridge, 1912 | 77th Spring Auction auction / 106 Lot
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97 x 71 cm
Oil on canvas
Signed lower right: Színes E. 912

77th Spring Auction / 106. Lot (2025-05-28)
Starting price: 3 200 000 Ft / 8 696 EUR
Estimation: 5 000 000 Ft- 7 000 000 Ft
/ 13 588 EUR - 19 023 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!

77th Spring Auction

Date:

2025. May 28. 18:00 - 23:00

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Study

Irodalom

(Md.): A tavaszi kiállítás megnyitása. Ismét botrány a Műcsarnokban. Budapesti Hírlap, 1913. március 19.

 

Mint az Erzsébet híd két meghosszabbított hídfője, úgy állnak a Duna-parton, a Kossuth Lajos utca végén a Klotild paloták. Az egymás tükörképeiként kialakított, díszes homlokzatú eklektikus épületek a századfordulón épültek meg. A békebeli Budapest két sikeres műépítésze, Korb Flóris és Giergl Kálmán tervezte őket a neobarokkot és a szecessziót a legmagasabb luxussal vegyítő stílusban. Az üvegablakok Róth Miksa műhelyében készültek, a kályhák a pécsi Zsolnaynál. Az ikerpaloták kívül vasszerkezetes kőburkolatot kaptak, míg belül, az emeletek között az első budapesti lift száguldott. Ma már neves luxushotelként fogadják a látogatókat, de egykor itt működött a BÁV régiségboltja, korábban pedig maga Krúdy Gyula látogatta kávéházát. Itt született a Szinbád-történetek nagy része is. Az 1912-es festményen eredeti állapotban látható a két palota. Az előttük elterülő szabad területen jól öltözött polgárok korzóznak, az egykori Belvárosi Kávéház előtt pedig Werbőczy István szobra magasodik, amelyet Ferenc József ajándékaként 1908-ban avattak fel, nem sokkal a kép születése előtt.

Színes Elemér a századelőn induló fiatal művésznemzedék körébe tartozott. Modernebb felfogású műveivel valóságos botrányt okozott a konzervatív szellemiségű Műcsarnokban, amikor 1913-ban egyik beadott művét sem válogatta be a zsűri. A Budapesti Hírlap fel is karolta a visszautasított fiatal tehetség ügyét, a lap újságírója így írt Színes eléjük tárt képeiről: „Hivatott tehetséget mutat valamennyi; erős színérzék, bátor, határozott ecsetkezelés – kissé még nyers tehetség, de a kép határozottan helyet foglalhat a tárlaton […]. »Dolgozni, élni akarok – panaszolta a fiatal művész –, a kenyeret kivehetik a kezemből, de az ecsetemet nem hagyom! Ha bunkóval csapnának le, akkor is fölállanék! Azért folyamodtam egyenest a miniszterhez, ilyen viszonyok közt csak ő segíthet rajtunk!«” A most vizsgált alkotás is ekkoriban született, és jelzi, hogy miféle ízes posztimpresszionista ecsetkezelés váltotta ki a régimódi ízlésű ítészek ellenkezését. 

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