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  • Nudes with Mirror, 1991

Csernus, Tibor (1927 - 2007)

Nudes with Mirror, 1991

Csernus, Tibor - Nudes with Mirror, 1991 | 62st Autumn Auction auction / 82 Lot
  • We provide certificate work of origin for every purchased work of art
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160x190 cm
oil, canvas

Signed on the reverse: Csernus 1991

62st Autumn Auction / 82. Lot (2019-10-11)
Starting price: 7 500 000 Ft / 21 118 EUR
Estimation: 9 000 000 Ft- 14 000 000 Ft
/ 25 342 EUR - 39 421 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!

62st Autumn Auction

Date:

2019. October 11. 18:00 - 21:00

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Study

„Az 1990-es években aztán elkezdődik valami új – és tart egészen máig-, amiben benne van  » minden «, ami festészet, vagy ami Csernus számára valaha is fontos volt. Először is, a kissé hideg, kissé merev, kontrasztos caravaggizmus fokozatosan fellazul, elkezd színesedni és kavarogni. […] A 90-es évek elejére már készen áll minden festői eszköz, mely a nagy szintézis, a Hogarth-sorozat létrejöttét lehetővé teszi.”

Varga Zsuzsa : Csernus Tibor. Helikon – EMA, 2000. 171 o.

 

„Feltűnő jelenségek azért vannak ebben a caravaggieszk periódusban. Ha összenézzük a reprodukciókat, kiderül a hihetetlen mennyiségű aktból, hogy a fény-árnyék problémáin túl valami fajta» testnyelv «[…] is van kibontakozóban, az időnként kicsavart mozdulatokból valamilyen » emberi kalligráfia « alakul ki […]. Sokszor nem lehet tudni, mit csinálnak a szereplők, holott mozdulataik »kifejezőek«, sőt patetikusak. Ezenközben ezek a meztelen testek nélkülöznek szinte minden erotikus töltést, sőt egyáltalán, minden érzelmet is.”

Varga Zsuzsa : Csernus Tibor. Helikon – EMA, 2000. 170 o.

„A világítás szinte mindig mesterséges: nagy teljesítményű stúdióreflektorok, melyek a sötétből vakítóan világos alakokat emelnek ki. A testek árnyékban maradó része nincs kidolgozva, mert »nem látható« - néha még az arc sem. Elkent, elmosódott, »festői« - szemben a fény és az árnyék élesen metsző határvonalával. Németh Lajos említi. hogy Csernus átesett egy szemműtéten, minek következtében túl élesen kezdett látni – ennek levezetésére szolgálhatott a »tenebroso« fény-árnyék-koncentráció. Ám az idők során az ellenhatás is kezdett működésbe lépni: először a kisebb részletekben, majd nagyobb felületeken is újra jelentkezett az elmosódás, a festőiség csalhatatlan jegye. Amennyire jellemző e képeken azt aktábrázolás a fény és árnyék kontrasztja miatt, annyira fontos a drapéria, melynek »öncélú« megfestése a festő […] egyik legnagyobb kihívása.

Varga Zsuzsa : Csernus Tibor. Helikon – EMA, 2000. 171 o.

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