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  • Red-Haired Nude in the Studio, 1912

Kádár, Béla (1877 - 1956)

Red-Haired Nude in the Studio, 1912

 Kádár, Béla - Red-Haired Nude in the Studio, 1912 | 80th Spring Auction auction / 186 Lot
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60,5 x 86 cm
Oil on cardboard
Signed lower right: Kádár Béla 1912

80th Spring Auction / 186. Lot (2026-05-18)
Starting price: 16 000 000 Ft / 44 128 EUR
Estimation: 20 000 000 Ft- 28 000 000 Ft
/ 55 160 EUR - 77 224 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!

80th Spring Auction

Date:

2026. May 18. 18:00 - 23:00

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Reproduced: Gergely Mariann: Kádár Béla (1877–1956). Melankolikus utazás. Mű-Terem Galéria, Budapest, 2002, 122.

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Study

Irodalom

Gergely Mariann: Kádár Béla (1877–1956). Melankolikus utazás. Mű-Terem Galéria, Budapest, 2002.

 

„Bármikor kezdek bele valamibe, mindig félek, hogy a modell cserben hagy. Eljönnek, pózolnak, majd elmennek, azzal áltatva magukat, hogy egyedül is be tudja a festő fejezni” – így panaszkodott az impresszionizmus sztárja, Edouard Manet barátjának, Antonin Proustnak. Ugyanígy félt akkor is, amikor a kor ünnepelt kurtizánját, Olympiát festette meg. A párizsi felvilág híres szépsége nem sejthette, hogy ezzel vonul be az örökkévalóságba. Hiszen a festő nem idealizálta, hanem egész váratlanul őszinte realizmussal ábrázolta a kihívó meztelen szépséget selyemvánkosán, virágokat hozó fekete szolgálója társaságában. Ahogy Manet harcostársa, Émile Zola kifejtette: „Mikor művészeink Vénuszokat festenek nekünk, kijavítják a természetet: hazudnak. Manet feltette a kérdést: miért is hazudnánk, miért ne mondanánk el az igazat? Így mutatta be nekünk Olympiát, korunk e leányát, akivel bárki találkozhat az utcasarkokon.” A fiatal, reményteljes festőnek, Kádár Bélának nem kellett ennyire izgulnia, hogy otthagyja modellje, hiszen feltehetően ifjú feleségét örökítette meg akt formájában. A ropogós drapériák és a beállítás mégis a nagy modern Vénuszt, Manet ikonikus Olympiáját idézi.

A festmény születésekor Kádár Béla első sikereit aratta. A szegényes külvárosi körülmények közül induló fiatal művész gyalogszerrel csavarogta be Európát, majd 1899-ben beiratkozott a pesti Iparrajziskolába, később pedig a Mintarajztanodába. Egyre-másra szerepelt a Műcsarnok és a Nemzeti Szalon kiállításain korai, kísérletező képeivel. Ösztönösen idegenkedett az akadémikus, valóságleíró stílustól; ahogy későbbi visszaemlékezéseiben írta: „egy benső kényszer, melynek nem tudtam ellenállni, kényszerített a dolgok átrendezésére.” Már ez a fél mondat is jelzi azt a 19. század végi, autonóm képfelületben gondolkodó esztétikát, amelyet a francia posztimpresszionisták nyomán Kádár is magáénak vallott. Számos jel utal arra, hogy közeli kapcsolatban állt Rippl-Rónai Józseffel. A kaposvári mester korai franciaországi, redukált pasztelljei, egy vonallal megrajzolt figurái és kukoricás stílusú enteriőrfestményei letagadhatatlanul hatottak Kádár korai művészetére. (A most elemzett képen látható vörös modell is Rippl-Rónai képeire illik.) Kádár számára az áttörést a Művészház csoportos kiállítása jelentette 1909-ben. A kritika dicsérte művészetét: „feltűnően szellemes szín- és formanyelven, s biztos stilizálással tudja elmondani mondanivalóját.” A posztimpresszionista stílusregiszteren megszólaló Kádár 1912-ben költözhetett be családjával a frissen átadott Százados úti művésztelepre. Minden bizonnyal itt festette feleségéről a most vizsgált – egyszerre Manet-t és a klasszikus Vénuszokat idéző – akt kompozícióját.

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