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  • Ilosvai Varga, István
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  • Nagybánya, 1929

Ilosvai Varga, István (1895 - 1978)

Nagybánya, 1929

 Ilosvai Varga, István - Nagybánya, 1929 | 75th Autumn auction auction / 46 Lot
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55 x 67 cm
Oil on canvas
Signed lower right: Ilosvai Varga I. 929

75th Autumn auction / 46. Lot (2024-10-11)
Starting price: 26 000 000 Ft / 71 570 EUR
Estimation: 32 000 000 Ft- 48 000 000 Ft
/ 88 086 EUR - 132 129 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

  • Conditions of sale

Exhibited: Ilosvai Varga István (1895–1978) emlékkiállítás. MűvészetMalom, Szentendre, 2005.

Reproduced: Modern magyar festészet, 1919–1964. Szerk.: Kieselbach Tamás, Kieselbach Galéria, Budapest, 2004, 103. kép., Ilosvai Varga István (1895–1978) emlékkiállítás. MűvészetMalom, Szentendre, 2005.

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Study

Irodalom

Csapó György: Ilosvai Varga I. Képzőművészeti Alap, Budapest, 1980.

Nagybánya művészete. Kiállítás a nagybányai művésztelep alapításának 100. évfordulója alkalmából. Szerk.: Nagy Ildikó, Magyar Nemzeti Galéria, Budapest, 1996.

Ilosvai Varga István (1895–1978) emlékkiállítás. MűvészetMalom, Szentendre, 2005.

 

Ilosvai Varga István életművét nem Nagybányához kötjük, de a most vizsgált kubizáló látképe mégis a Máramaros megyei kisváros legjobb művei közé sorolható. A cézanne-i geometrizálás hűvös eleganciájának szellemében született kompozíciót a református templom jellegzetes kúpja és a köré szervezett misztikus fényudvar dominálja. Ilosvai hosszú utat tett meg Nagybányáig: a kiugrott joghallgató az alföldi iskola festőiségével indult, de Párizsban megbabonázta Van Gogh, majd Tihanyi Lajoson keresztül a Nyolcak esztétikája, végül Szentendre különleges miliőjében talált rá a megfelelő környezetre. „Ha ott maradtam volna a Kunságban – emlékezett vissza –, lehet, hogy alföldi festő lettem volna. De ott nem találtam meg azt a festői motívumot, amit kerestem, az Alföldön nem találtam meg a konstrukciót.” Az Ilosvai Varga által említett „konstrukció” az a bizonyos szerkezetes rendszer, a cézanne-i, kubisztikus látásmód, amelyet sokan kerestek az 1920–30-as években, és amelynek végül Szentendre lett az ihlető „fővárosa” – ahol Ilosvai Varga is megtelepedett a harmincas években. De a most vizsgált, posztkubista síktördeléssel és erős színátmenetes fényköltészettel kialakított festmény nem itt született, hanem Nagybányán, ahol Ilosvai 1929 és 1931 között töltötte a nyarakat, és ahol olyan rokon szellemű művészek dolgoztak ekkor, mint Ziffer Sándor vagy Perlrott Csaba Vilmos. A nagybányai szabadiskola épp ekkor ment keresztül egy „megfiatalodási” fázison, ahogy Szücs György írja a nagy Nagybánya-katalógusban: „A kolónia történetében 1930 körül jelentkeztek az utolsó megújulási hullám képviselői, akik világnézetükben baloldali értékeket követtek, stilárisan a kubizmus eredményeit egyesítették az új tárgyilagosság dekoratív megoldásaival.”

 

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