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  • Lakner, László
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  • Odds and Ends, 1960

Lakner, László (1936 - )

Odds and Ends, 1960

 Lakner, László - Odds and Ends, 1960 | 18th Auction auction / 205 Lot
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60x90 cm
oil on canvas
signed upper right: Lakner 960

18th Auction / 205. Lot (2002-04-19)
Starting price: 2 500 000 Ft / 7 039 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!

18th Auction

Date:

2002. April 19. 17:00 - 21:00

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Study

László Lakner, who is a teacher of Essen University and has been living in Berlin since the 1970s, is one of the most important representatives of Hungarian avantgarde of the 1960s. For reasons of politics, he held his first one-man exhibition only in 1969, but by that time his pictures had been presented at many important exhibitions.
Lakner studied at the Academy of Art under Aurél Bernáth. In his painting Man with Parrot made in 1957 the master's influence is very prominent. In Bernáth's studio Lakner met Tibor Csernus, whose pictures produced elementary effect on the young painter. Around Csernus a circle of young painters was formed; they were labeled 'surnaturalists'. In 1964 Csernus emigrated to France. In the same year Lakner visited the biennial in Venice and began to work on establishing pop art in Hungary. His News from 1964 is one of the first Hungarian pop-art pictures that was followed by such famous series as his Rembrandt-paraphrases and the Mouth-series. His pop-like hyperrealism got closer and closer to concept art at the end of the 1960s. His works made in the 1970s in Budapest and West-Berlin already belong to this trend.
The pictures presented here was made in 1960 but the influence of Csernus's art is already stronger here than that of Bernáth's. It is a real surnaturalist picture; the different odds and ends, the function of which cannot really be recognized any more, were made of wool and metal. Their picturesque pile goes beyond any of one's notion of mess. The surrealist effect, which exceeds the borders of naturalism, is strengthened by the menacing motives dominating the picture: the chains and rakes with sharp teeth evoke the image of instruments of torment. The closest relative of this picture in Lakner's oeuvre is The Past of a Room, in which Max Ernst's influence is very prominent. Comparing to that picture,
Odds and Ends is a more 'earth-bound' painting, less Freudian, less French-like, it is more close to 'Hungarian reality'. Its tone is close to another picture by Lakner, the Shoal.
All the three pictures contain several little technical 'trouvaille' to the thorough viewer. At that time Lakner applied the paint with different artful methods. He liked the so-called 'scratchy' method, when he modeled the facture by knife or razor and 'smacky' modeling, which means pressing another surface on that of the painted canvas. These techniques are 'officially' called 'frottage' and 'decalcomania'. They were mainly used by surrealist artists, first of all Max Ernst; but Csernus also applied them with enthusiasm.

Hornyik, Sándor

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