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  • Self-Portrait with Palett, c. 1924

Vaszary, János (1867 - 1939)

Self-Portrait with Palett, c. 1924

 Vaszary, János - Self-Portrait with Palett, c. 1924 | 79th Winter Auction auction / 233 Lot
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62,5 x 37 cm
Oil, canvas on cardboard
Signed upper left: Vaszary, On the reverse: Hungarian National Gallery review number: 1291/1961

Provenance: Earlier in the Keleti private collection

79th Winter Auction / 233. Lot (2025-12-14)
Starting price: 6 000 000 Ft / 16 408 EUR
Estimation: 8 000 000 Ft- 12 000 000 Ft
/ 21 878 EUR - 32 816 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!

79th Winter Auction

Date:

2025. December 14. 18:00 - 23:00

  • Conditions of sale

NO EXPORT

Reproduced: Magyar Művészet, 1925, 228., A Pesti Hírlap Nagy Naptára. Légrády Testvérek, Budapest, 1929, 95., Petrovics Elek – Kárpáti Aurél: Vaszary. Athenaeum, Budapest, 1941–1942, II., Élet és Tudomány, 1960/30., 943., Plesznivy Edit: Vaszary János. Kossuth – Magyar Nemzeti Galéria, Budapest 2007, 84.

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Study

Irodalom

Gerő Ödön: Vaszary János. Magyar Művészet, 1925, 227–242.

Petrovics Elek – Kárpáti Aurél: Vaszary. Athenaeum, Budapest, 1941–1942.

Haulisch Lenke: Vaszary (1867–1939). Képzőművészeti Alap, Budapest, 1960.

Haulisch Lenke: Vaszary János. Képzőművészeti Alap, Budapest, 1978.

Rum Attila: Vaszary János. Bumbum, Budapest, 2005.

Vaszary János (1867–1939) gyűjteményes kiállítása. Szerk.: Veszprémi Nóra, Magyar Nemzeti Galéria, Budapest, 2007.

Plesznivy Edit: Vaszary János. Kossuth – Magyar Nemzeti Galéria, Budapest, 2007.

 

Évszázados lappangás után került elő Vaszary János legismertebb önarcképe. A képen nagy formátumú festőhéroszként áll előttünk. Szemei összeszűkülnek, mint az olyan festőknek, akik minden pillanatban a látvány képbe való átültetésére koncentrálnak. Leeresztett kezében mestersége címere, a paletta és három könnyed barna vonással jellemzett hosszú ecset. Nem lehet kétséges, hogy Madridban járva (leveleiben is megírta), alaposan megnézte magának Velázquez műveit. A szurokfekete barokk mélységből kiragyogtatott fehér inggallér a spanyol mester fehér gallérkölteményeit idézi. De a vérbő, expresszív ecsetkezelésen a francia modernek hatása is tetten érhető.

„Vaszary János a modern festők első sorában áll. A modern festés egyik exponense” – kezdte Gerő Ödön nagy 1925-ös tanulmányát a párizsi utazás után újra a csúcsra törő Vaszaryról a Magyar Művészet hasábjain. Ezt a nagy portréírást is a most vizsgált arckép vezette be. Mintha Gerő ezeket a sorait illusztrálná a szöveggel szembehelyezett önarcképpel: „Vaszary János a technika mestere. Uralkodik az eszközein, a keze ügyében vannak, megbecsüli őket, s a legjobban, legcélszerűbben és legszebben akarja őket művészi ideája szolgálatába fogni. Ennek a legjobbról, legcélszerűbbről és legszebbről való gondolkozásának révén modern művész, s ennek az akarásának sikere viszi a modernek első sorába.” Petrovics Elek és Kárpáti Aurél is ugyanezt a képet választotta első illusztrációként monográfiájának élére. Az ikonikus arckép bekerült a Magyar Nemzeti Galéria 2007-es nagy katalógusába is, de csak fekete-fehér archív fotóként. Mostani felbukkanásakor látható csak, hogy az első közlésnél az újságoldalhoz igazították hozzá a képet, megrövidítve az unikális, hosszúkás eredeti kompozíciót.

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