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  • Spring Garden (Blossoming), about 1908

Nagy, Sándor (1869 - 1950)

Spring Garden (Blossoming), about 1908

Nagy, Sándor - Spring Garden (Blossoming), about 1908 | 22. Auction auction / 29 Lot
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65x81 cm
Oil on canvas
Signed lower right with intitials: NSJ

22. Auction / 29. Lot (2003-05-16)
Starting price: 1 800 000 Ft / 4 964 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!

22. Auction

Date:

2003. May 16. 17:00 - 21:00

  • Conditions of sale

LITERATURE

Nagy, Sándor: Levél egy, több, sok kollégához, Művészet, 1903
Nagy, Sándor: Művészi hitvallások, Művészet, 1903

Subject :  Life Interior

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Study

Pantheism

The Spring Garden was born as a result of the painter's pantheistic attitude to life. We can observe the awakening of Nature on this lyrical landscape.In the background there is a young small tree is in bud, and the old plum-tree besides it is getting beautiful by its full blossom. The colorit and the tones of the painting is similar to that of the famous Double Portrait. The Tolstoyan painter painted the leaves of the trees with the same minute, little brush. While the main characters in the Double Portrait are the two figures in love, in the Spring Garden Nature itself is playing the main role.

The Artists' Colony in Gödöllő

On the basis of style analysis the painting must have been painted in the second half of the 1900s, most probably around 1908. It is characterised by the richness of details of the Art Noveau. Sándor Nagy and Aladár Körösfői Kriesch founded the Artists' Colony around these years. Körösfői setlled down in 1902, the Nagy couple in 1907. Their first exhibition was in the National Salon in 1909.



The Preraffaelites, Puvis de Chavannes and Tolstoy

As to the international context of the painting, the preraffaelites would be the most apparent parallel, as the Gödöllő Colony was related to them closest. However, this painting does not show the cultic lines by Burne-Jones or Rosetti. It rather reminds us of the French Symbolism, and Puvis de Chavannes. This association is based on the fact that Sándor Nagy lived and studied in Paris from 1892 to 1900. He studied at the Julian Academy where he had the opportunity to meet rosecrucean painters as well. He himself was not devoted to resecrucean theories; he was the follower of Tolstoy. As a tolstoyan artist he believed that art should give voice to the beauty of Nature.

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