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  • Studio Still Life (Hommage á Morandi), 1970s

Kazovszkij, El (1948 - 2008)

Studio Still Life (Hommage á Morandi), 1970s

 Kazovszkij, El - Studio Still Life (Hommage á Morandi), 1970s | 61st Spring Auction auction / 28 Lot
  • We provide certificate work of origin for every purchased work of art
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75x70 cm
oil on fibre board
signed on the reverse: El Kazovszkij

Provenance: formerly in the artist's heritage

61st Spring Auction / 28. Lot (2019-05-20)
Starting price: 1 600 000 Ft / 4 374 EUR
Estimation: 2 000 000 Ft- 4 000 000 Ft
/ 5 467 EUR - 10 935 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

IRODALOM | bibliography
- A túlélő árnyéka. Az El Kazovszkij életmű. Szerk.: Rényi
András, El Kazovszkij Alapítvány–Kieselbach Galéria, 2017.
- Forgács Éva: El Kazovszkij. Új Művészet Kiadó,
Budapest, 1996.

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Study

Az asztal színpada

A Szentpéterváron született, de Magyarországon felnőtt El Kazovszkij a 70-es években pályakezdő nemzedék legsokoldalúbb, legizgalmasabb festőfigurája volt. Teátrális önkifejezésre hajló énje ösztönösen talált rá az újfestészet expresszionista festői nyelvére és a nagy szabású performanszok (Dzsan panoptikum) színházi előadására. Korai korszakában született csendélete érzéki lazac rózsaszínbe és gyöngyház fehérségbe öltözteti az üvegkancsók éteri tömegét. A nádasztalra helyezett kendő jobb oldalt kilóg a képből, mintha egy tipikus El Kazovszkij-féle színdarabot látnánk. „Kazovszkij – íjra monográfusa, Forgács Éva – legtöbbször úgy állítja dobogóit, elkerített négyszögű tereit festményeinek színpadára, hogy azok egyik sarka mutat a néző felé: egyik átlójuk párhuzamos a képsíkkal, a másik annak mélye felé mutat. (…) Kazovszkij kibillenti a nézőt megszokott perspektívájából, destabilizálja: ugyanakkor az a szög, amelyből látványait megmutatja, éppolyan állandó, mint maguk a szereplők és a helyszínek. A következetes perspektíva a néző biztonságos vezetését szolgálja ezeken a belső tájakon, s a szerkesztettség egyúttal értésére adja azt is, hogy józan ésszel kontrollált, racionálisan szervezett univerzumba került, amelynek szorongásai, félelmes tájai és a psziché mélyéből előjövő szereplői átgondolt rendszert követei.”

Morandi nyomában

Évszázadokon keresztül a csendéleteket a pazar anyagok gazdagságának – és annak ellentétének, a „hiúságok hiúságának” – bemutatása jellemezte. A 20. század viszont a műfajt a formai kérdések koncentrált, „laboratóriumi” vizsgálatának terepévé tette. Legmesszebb Giorgio Morandi távolodott el a nature morték gazdagságától, a végtelenül lecsupaszított, hasonló tónusú üvegek metafizikus rendjére irányítva a figyelmet. A minimalista Morandi-féle csendélet visszafelé is átírta a művészettörténetet: az érdeklődés a redukált barokk festőkre esett (El Labrador, Zurbarán), a spárgaszár banális szépségét ünneplő impresszionistákra (Manet) és a lecsupaszított minimál formákkal dolgozó modernekre (Donald Judd, Sol LeWitt). A fiatal El Kazovszkij is csodálta Morandit a 70-es években, hatását le se tagadhatja a világoskék terítőre kihelyezett fehéres kancsóinak csendesen elmélyült kompozícióján.

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