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  • Still-Life with a Green Pitcher (Chrysanthemums), 1927

Vaszary, János (1867 - 1939)

Still-Life with a Green Pitcher (Chrysanthemums), 1927

 Vaszary, János - Still-Life with a Green Pitcher (Chrysanthemums), 1927 | 22. Auction auction / 33 Lot
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67x82 cm
Oil on canvas
Signed upper left Vaszary J.

22. Auction / 33. Lot (2003-05-16)
Starting price: 15 000 000 Ft / 41 106 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

Subject :  Still Life Life

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Study

Provenance:

Former property of István Nagy
Former property of Andor Keleti

Exhibited:
Commemorational exhibition of Vaszary, János , Ernst Múzeum, 1940


Reproduced:
Petrovics, Elek-Kárpáti, Aurél: Vaszary. Bp., 1941 52. Kép
Haulisch, Lenke: Vaszary János. Bp., 1978, 160. kép
Rabinovszky, Márius: Vaszary János. Magyar Művészet, 1930, 128.o.


Literature:
Rabinovszky, Márius: Vaszary János. Magyar Muvészet, 1930, 125-132.o.
Petrovics, Elek-Kárpáti, Aurél: Vaszary. Bp., 1941
László, Gyula: Vaszary János emlékezete. Muvészet, 1967/12., 13-15.
Haulisch, Lenke: Vaszary János. Bp., 1978
Vaszary János gyűjteményes kiállítása. Polgár Galéria katalógusa, 1998
Mezei, Ottó: Tallózás Vaszary János írásos anyagában. In: Limes, 1993/3-4., 5-24.



The 1920s in Vaszary's oeuvre was the probably most harmonious period. He had a balance in his private life and his role in public life. His visit to Paris in 1925 definitely contributed to maturity of his individuality in his new white epoch which was characteristic of Vaszary till the end of his life. This new style : groups of wide colour unidirectional marks with semi-transparent white ground; alla prima painting, light plains from which nearly shouting out some darkly brightening mark or group of marks. The dynamism is freshed up getting more energetic and more strained than ever before.
Similarly to the Gladiolus the place cannot be localized at first sight: it is about vases placed to the ground or table,or the furnishing is a compromise to the ornamental or an attractive spectacle caught accidentally , yearning to the canvas. It does not matter: favoured composition of the artist is the flower vase placed in the corner; more precisely it is about the autotelic double play of two vases. The vessel with Art Nouveau lines placed in the foreground as if war in the picture in order to give a counterpoint to the bunch of chrisanthemums representing of the revived white epoch of the artist. Vaszary applies with firmly, massive gestures the paint to the surface. To this release contributed a technical invention, the use of aquarelle. With combination of the oil and aquarelle could be made clear and semi-transparent surfaces, there are great opportunities of the virtuosic use of this technique especially in the static compositions.

Vaszary omits lines, outlines and hatch, and his favoured decorativness becomes highlighted, increasing the colours individual ornamental elements of the composition.
In the beginning of he XX.c. the still lifes of flowers caught up with the "grand art" omitting the previously used theme of transience and getting more and morer favoured the artistic liberty coming from the Nature. Vaszary had always liked to take the opportunity of this liberty.

His french orientation determines the circle where the analogies of his art are taken from by the professional literature. Vaszary remained a " progressive traditionalist" among the frames wide open of representation; he kept something from the impressionism, from the outlining of synthesis , he worked under the influence of the Fauves, the lightness and transparence of the japanese calligraphy. However he remained faithful to his dynamic, clinging to the earth sensualism.

From his French contemporaries Raoul Dufy is who had similar thematic interest: city, circus, seaside, music-hall. Although the bunch of Dufy is more indulgent, his brushwork, similiraty of composition gives a right analogy to this Vaszary's master piece from 1927.

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