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  • Night in the Balearic Islands (Blue Landscape), second half of the 1920s

Simon, György János (1894 - 1968)

Night in the Balearic Islands (Blue Landscape), second half of the 1920s

 Simon, György János - Night in the Balearic Islands (Blue Landscape), second half of the 1920s | 75th Autumn auction auction / 123 Lot
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101,5 x 121 cm
Oil on canvas
Unsigned

75th Autumn auction / 123. Lot (2024-10-11)
Starting price: 12 000 000 Ft / 34 312 EUR
Estimation: 15 000 000 Ft- 19 000 000 Ft
/ 42 890 EUR - 54 328 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

Reproduced: Modern magyar festészet 1919–1964. Szerk.: Kieselbach Tamás. Kieselbach Galéria, Budapest, 2004, 596., Modern Hungarian Painting 1919–1964. Szerk.: Kieselbach Tamás. Kieselbach Galéria, Budapest, 2004, 596., Die Moderne in der Ungarischen Malerei 1919–1964. Szerk.: Kieselbach Tamás. Nicolai, Berlin, 2008. 596.

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Study

Irodalom

XCI. Csoportkiállítás (Derkovits Gyula, Molnár C. Pál, Rauscher György, Simon György János, Cselényi Walleshausen Zsigmond festőművészek és Kósa Mária szobrászművésznő). Ernst-Múzeum, Budapest, 1927.

XCIX/a. Csoportkiállítás. Bernáth Aurél, Bertalan Albert, Feszty Masa, Nagy Sándor, Rózsaffy Dezső, Simon György János és Zilzer Gyula festőművészek. Ernst Múzeum, Budapest, 1928.

Matits Ferenc: Simon György János pályaképe levelek és kritikák tükrében. Ars Hungarica, 1993/1., 127–133.

 

A Monarchia olvasztótégelyében, Triesztben született Simon György János (Jean-Georges Simon) igazi kozmopolita utazó festőként élte át a 20. század első harmadát, mielőtt az Egyesült Királyságban talált volna végleges otthonra. Budapesten végezte művészeti tanulmányait, de első kiállításaira már Genfben és Berlinben került sor 1920–21-ben. Beutazta Itáliát, miközben jó kapcsolatot ápolt a nyugatos költőkkel is, különösen Szabó Lőrinccel. „Mindenféle »irányt« gyűlölők. Szeretem a természetet, az életet és embereket. A természettől nem tudok és nem akarok elszakadni. A rám ható benyomásokat teljesen átérezve, az érzést magát akarom minél tökéletesebben és teljességében kifejezni” – vallotta meg első budapesti bemutatkozásakor, az Ernst Múzeum 1927-es katalógusában. Akkoriban éppen Párizsban élt, de folyamatosan jelen volt a svájci színtéren is. Európai csavargásai közepette is folyamatosan szerepelt Budapesten.

A Tamás Galéria által kiadott 1933-as kiállítási katalógus előszavából kiderül, hogy Afrikába is eljutott: „Bejárta Algírt, Marokkót, Tuniszt, és útimappája közben megtelt a friss és érdekes impressziók par excellence festői készséggel feljegyzett emlékeivel. Az egzotikus tájakból nem az egzotikum érdekelte elsősorban, hanem az új témáknak tisztán művészi problematikája és modern kifejezési lehetősége.” A most vizsgált kép beazonosításához a modern művészeti magazin, az 1931-es Új Szín korabeli festményreprodukciója nyújtott segítséget, amely egy nagyon hasonló kompozíciójú tájképet ábrázol. Az ott szereplő Baleares cím alapján a különleges kéklő éjszakai égbolt a Baleár-szigetek magasztos táját jeleníti meg, valahol Ibiza, Menorca vagy Mallorca kellős közepén, a Földközi-tenger csillagos ege alatt. Simon számára rendhagyó publicitást teremtett a közelmúltban, hogy egyik legjobb festménye (Házak, 1923, Magyar Nemzeti Galéria) – tévesen Galimberti Sándornak tulajdonítva – egy monográfia címlapjára került, és a legkiválóbb avantgárd képzőművészet képviselőjeként turnézott évtizedekig világszerte, míg ki nem derült, hogy a végül Angliába elszármazott művész alkotása.

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    (1858 - 1925)

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