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  • Landscape I., 1964

Molnár, Sándor (1936 - 2022)

Landscape I., 1964

 Molnár, Sándor - Landscape I., 1964 | 75th Autumn auction auction / 180 Lot
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100 x 70 cm
Oil on canvas
Signed lower right: MS 64, On the reverse autograph inscription: Molnár Sándor Táj I. 100 x 70 cm o.v. 1964

75th Autumn auction / 180. Lot (2024-10-11)
Starting price: 5 500 000 Ft / 15 140 EUR
Estimation: 8 000 000 Ft- 14 000 000 Ft
/ 22 022 EUR - 38 538 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!

75th Autumn auction

Date:

2024. October 11. 18:00 - 22:00

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Study

Irodalom

Molnár Sándor. Üresség. Festmények 2006–2016. Szerk.: Lajta Gábor – Sulyok Miklós, MMA, Budapest, 2016.

Molnár Sándor. Festőjóga. Festmények. Szobrok. Anyagtanulmányok. Irály Kkt., Budapest, 2021.

 

Molnár Sándor központi szerepet játszott az 1960-as évek nagy nemzedékének indulásában. Az ötvenes évek fojtogató légkörében a Képzőművészeti Főiskola diákjaként egy antikváriumban talált pár nyugati könyvet a tiltott absztrakcióról, Kandinszkijról és Mondrianról. Ezek hatására indult el azon a nonfiguratív festészeti úton, amelyből monumentális életműve megszületett. Maga köré gyűjtötte hasonló érdeklődésű diáktársait (Bak Imre, Nádler István stb.), akik ma már az Iparterv-generációnak a nemzetközi színtéren is jól ismert absztrakt mesterei. Ettől kezdve tíz éven át Molnár zuglói lakása adott otthont a beszélgetéseknek, vitáknak, itt cserélgették a külföldi szakirodalmat, reprodukciókat, lefordított könyveket és lemásolt kéziratokat. A Zuglói Kör volt a hatvanas évekbeli progresszív magyar művészeti törekvések első állomása. Molnár a francia tachizmus mestere, Jean Bazin hatása alatt absztrahálta a természeti látványt, megtartva a gazdag faktúrájú, tapintásra ingerlő festékfelületet. Több stílusregiszteren dolgozott párhuzamosan. Legkarakteresebb hatvanas évekbeli törekvése lekerekített, szegmentált tömbökből építkezett, katedrálisablak-szerű szerkezetes vonalstruktúrákká sematizálva a látványt. Az intenzív színkontrasztokkal harsogóvá tett figurális kompozíción az emberalakok és a csendélet kellékei egyre inkább feloldódtak a színfoltok között. A most vizsgált, a Zuglói Kör időszakához tartozó „tájkép” ebbe a folyamatba illeszkedik. A festmény már színtiszta absztrakcióvá vált, a címben felfedett kiindulópont, a táj teljesen feloldódott a gazdag felületű, játékosan egymáshoz simuló íves színmezők között. Az életmű korai, úttörő korszakának ritkán felbukkanó, kiérlelt képviselője. A meghatározó hatvanas évek után Molnár már saját, független, egyszerre univerzális és a magyar tradícióból táplálkozó művészeti irányát, a „festőjóga” útját járta. Ebben az új, Hamvas Béla és a keleti filozófia által ihletett esztétikai rendszerben az őselemeknek feleltette meg saját korszakait. Utólag a most vizsgált festményt – mint a vakrámán olvasható feljegyzésből kivehető – a föld elemhez sorolta, azon belül is a koagulációhoz, vagyis „a szilárd alap megteremtéséhez”, illetve a föld-geometriához, amikor „a lágy természeti forma belső csontváza megszilárdul, geometrizálódik, tartószerkezetté válik”.

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