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  • Nagybánya, 1920s

Kmetty, János (1889 - 1975)

Nagybánya, 1920s

 Kmetty, János - Nagybánya, 1920s | 61st Spring Auction auction / 19 Lot
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47,5x60,5 cm
oil on canvas
signed lower right: Kmetty

61st Spring Auction / 19. Lot (2019-05-20)
Starting price: 6 500 000 Ft / 18 586 EUR
Estimation: 8 000 000 Ft- 14 000 000 Ft
/ 22 875 EUR - 40 031 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!

61st Spring Auction

Date:

2019. May 20. 18:00 - 21:00

  • Conditions of sale

Reproduced: Pecze János: Kmetty János. 2012, oldalszám nélkül

IRODALOM | bibliography
- Kmetty János: Önmagamról. In: Műbarát, 1922/5., 115.
- Kmetty János: Festő voltam és vagyok. Budapest, 1976.
- Ury Ibolya: Kmetty János. Budapest, 1979.
- Kmetty János 1889–1975. A magyar kubista. Szerk.: Pirint Andrea, Herman Ottó Múzeum, Miskolc, 2008.

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Study

Párizs után Nagybánya

„Elragadtatva bámultuk, az egész kiállítás tartalma alatt újra és újra visszatértünk a képekhez, s úgy tapasztaltuk, hogy a mesterek is jól esően veszik tudomásul az érdeklődést a fiatalabb nemzedék részéről” – írta az erdélyi festőnő, Csizér Lilla annak a kettős kiállításnak a kapcsán, amelyet Mattis Teutsch János és Kmetty János rendezett 1932-ben Nagybányán. Kmetty ahhoz a nemzedékhez tartozott, amelyik már példaképként nézett fel a Nyolcak modern tagjaira, művészeti iskoláit pedig elsősorban Párizsban végezte, ahol az idősebb festőkkel ellentétben már nem a fauvizmus, hanem a kubizmus ejtette rabul. Ezzel az avantgárd útravalóval felfegyverezve tért haza Budapestre. A 20-as években – kiállító művészként – sorra látogatta az elcsatolt országrészeket, keresve a modernizmus „végvárait” (Kassa, Nagyvárad, Arad stb.). Így jutott el többek között Nagybányára is, ahol örömmel fogadta a Nagybányai Festők Társasága.

Megtalált posztkubizmus

Kmetty az 1920-as évek közepétől 1932-ig töltötte a nyarakat rendszeresen Nagybányán. Ez az az időszak, amikor megtalálta a kubizmusból leszűrt saját festői nyelvét, ahogy kései önéletrajzában megfogalmazta: „1924 után már az ismét megtalált úton járok megint, a magam módján.” 1927-ben – tizenhat év után – újra eljutott Párizsba, ahol megbizonyosodott arról, hogy a (poszt)kubizmus nem halott, hanem él és virágzik. Kmetty kivilágosodó, fénnyel megtelt festészete ekkor már öntudatosan koncentrált a racionális képépítésre, kombinálva egymással a „kályhacső-szerűen” modellált geometrikus színsíkokat. Jó pár híres csendélete született ebben az időszakban, valamint egy csokor nagybányai látképe, amelyek mind a függőleges tengely szerepét vizsgálják a festmény képterében (pl.: Nagybányai részlet sétáló figurával, 1932, Ferenczy Múzeum, Szentendre; Nagybányai utca templommal, 1932, Herman Ottó Múzeum, Miskolc).

Nagybánya másképp

A most vizsgált kép középpontjában a vörös sisakos, református templom sok száz nagybányai festményen megörökített jellegzetes tornya áll. Körülötte az alacsony házak, előtérben a Zazar és egy csöndesen bandukoló pár. A függőleges tengelyt hangsúlyozva Kmetty egész különös módon helyezte egy vonalba a villanyvezeték faoszlopát és a templomtorony szélét. Hasonlóképpen nem törődött a látvány hagyományos, „nagybányás” követésével máshol sem: a jobb oldali ház rózsaszín folttal folyik bele az utcába, a kis híd tükörképe lefelé ható vizuális hangsúlyként rajzol egy kék hasábot a vászon bal felére, a fa ovális lombja pedig szó szerint „átmetszi” a torony tömbjét. Az elemek mind a szintetikus kubizmus autonóm képépítési metódusából erednek, teljesen szokatlan, avantgárd rendbe illesztve a jól ismert nagybányai épületeket.

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