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  • Stacks on the Fields, 1920s

Koszta, József (1861 - 1949)

Stacks on the Fields, 1920s

 Koszta, József - Stacks on the Fields, 1920s | 61st Spring Auction auction / 15 Lot
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62x71 cm
oil on canvas
signed lower right: Koszta

On the reverse: deposit label of Hungarian National Gallery – Új Magyar Képtár (accession number: LU 94.34)

61st Spring Auction / 15. Lot (2019-05-20)
Starting price: 6 000 000 Ft / 16 689 EUR
Estimation: 12 000 000 Ft- 18 000 000 Ft
/ 33 379 EUR - 50 068 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!

61st Spring Auction

Date:

2019. May 20. 18:00 - 21:00

  • Conditions of sale

Exhibited: 2014, Koszta József gyűjteményes kiállítása, Tornyai János Múzeum, Hódmezővásárhely

Reproduced: Szinyei Merse Anna: Koszta József 1861-1949. Élete és művészete a dokumentumok tükrében. Kogart, Budapest, 2014, 127. kép

IRODALOM | bibliography
- Szinyei Merse Anna: Koszta József 1861–1949. Élete és
művészete a dokumentumok tükrében. Kogart,
Budapest, 2014.
- Egri Mária: Koszta József. Budapest, Corvina, 1989.
- Bényi László: Koszta József 1861–1949. Szentes, 1976.

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Study

Micsoda szem!

Paul Cézanne mondta egyszer barátjáról, Claude Monet-ról, hogy „Monet egy szem mindössze, de Istenem, micsoda szem!” Ahogy az impresszionisták elemezték hunyorító szemmel a reflexek színeit a Gare de l'Est mozdonygőzében vagy a gótikus katedrálisokra eső napfürdőben, épp úgy tanulmányozta Koszta József az optika törvényeit és különleges csodáit a nagy magyar pusztán. „Hallom néha – idézte Koszta kritikusait rosszallóan –, hogy transzponálom képeimen a színeket. Csodálkozom rajta, ha azt mondják, hogy nem olyan a kép, mint ahogy a természetben van. Pedig én csak azt csinálom, ami ott van! Persze nem szoktam nézni a részleteket, hanem az egészet. Nem egy színt, egy tónust külön, hanem együtt a mellette lévővel.” Az impresszionistáknak fél évszázadba tellett meggyőzni a közönséget, hogy az árnyék nem fekete, hanem lila. Koszta is megküzdött az elfogadásért. (Ma már sorra rendezik a nagy sikerű közönségkiállításokat képeiből, főművei múzeumokban lógnak; a most vizsgált alkotást is sokáig letétként őrizte a Nemzeti Galéria, remek kvalitása miatt Szinyei Merse Anna a múzeumban őrzött saját tételként szerepeltette a nagy Koszta-katalógusban.)

Alföldi optika

A tiszazugi tanyavilág remetéjeként élő és dolgozó Koszta József az unikális pusztai, magyaros látványokat kereste. Például ahogy a fodros felhőkkel teli alkonyi ég szinte fehéren izzik, erős kontrasztot alkotva a szénaboglyák szénfeketévé átlényegülő – de valójában barnás-vöröses valőrökkel teli – tömbje felett. Bár francia kollégája, Monet százszor is megfestette a szénabálákat a francia kaszálókon, a selymes őszi verzióktól a rózsaszín havas változatokig, soha ilyen fekete-fehér kontrasztot nem talált, mint Koszta. Ehhez Koszta sajátos „optikája” és a magyar Alföld sajátos, délibábos pusztasága kellett, ahonnan az „igaz magyar piktúra” kinőhetett. A „magyar piktúrán” a kor nyelve az ízes, pasztózus, nagyformátumú, a magyar termőföld és a paraszti kultúra televényéből kisarjadó unikális festészetet értette, amelyet az olyan, rokon szellemiségű alkotók is képviseltek, mint Nagy István vagy Rudnay Gyula. „A piktor, aki nem a természetben, mélyen a földben gyökerezik, az nem az igazi. A kiagyalt kép sosem lehet jó, technikailag tán érdekes, de nincsen igazi súlya” – vallotta Koszta.

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