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  • Personal Letter with Green Gestures, 1991

Frey, Krisztián (1929 - 1997)

Personal Letter with Green Gestures, 1991

 Frey, Krisztián - Personal Letter with Green Gestures, 1991  | 81th Autumn auction auction / 89 Lot
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69 x 49,5 cm
Oil on paper
Signed on the reverse: autograph inscription

81th Autumn auction / 89. Lot (2026-10-12)
Starting price: 3 400 000 Ft / 9 295 EUR
Estimation: 4 000 000 Ft- 7 000 000 Ft
/ 10 935 EUR - 19 136 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!

81th Autumn auction

Date:

2026. October 12. 18:00 - 22:00

  • Conditions of sale

Exhibited: {Script:Abstract} Frey úr ír. Ludwig Múzeum – Kortárs Művészeti Múzeum, Budapest, 2022 (kat. 209.).

Reproduced: {Script:Abstract} Frey úr ír / Herr Frey Frei. Szerkesztő: Rieder Gábor. Ludwig Múzeum – Kortárs Művészeti Múzeum, Budapest, 2022, 273. 209. kép

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Study

Irodalom

{Script:Abstract} Frey úr ír / Herr Frey Frei. Szerk.: Rieder Gábor. Ludwig Múzeum – Kortárs Művészeti Múzeum, Budapest, 2022.

„1990-ben ismét kézzel kezdett el dolgozni, mert egyrészről hiányzott számára »az a testi munka, amit a vászon felfeszítése, mozgatása közben és a festési akcióban« megszokott, másrészt beleunt az népszerűvé váló komputerművészetbe. Kifejezetten termékeny fél évtized következett életében. Bár vászonhoz már csak ritkán nyúlt, papíralapú műveinek viszont hosszú sora készült ebben az időszakban. Visszatért a korai zürichi korszakának naplójellegű, gyors sorokkal teleírt szkripturális gyakorlatához, de sok esetben már nem a híg festékbe karcolta szövegeit, hanem fehér papírlapra vagy pauszpapírra karistolta grafitceruzával vagy szénnel, a sorokon is átsütő türelmetlenségről téve tanúságot. […] A grafit mellett ugyanúgy megjelent művein – akár egymásra rétegezve – a színes akrilfesték, a kréta vagy a tus. […] Frey az álló formátumú, fehér rajzlapokat többszörösen összehajtotta, hogy tizenkettő, tizenhat vagy akár harminckettő téglalapot kapjon. A végül kiterített, de a hajtogatás vonalait őrző felületen az egyes mezőket egyszerre kezelte külön képekként és egy nagyobb mű részeiként, párhuzamosan dolgozva rajtuk. […] A hajtogatott festmények négyzetrácsos képépítménye nem a matematika, hanem inkább valamiféle misztikus, okkult rend képzetét vetítik a néző elé, amely dacolni próbál az elmúlással.”

(Rieder Gábor)

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