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  • Studio Still Life with Apples, Pears and Quince

Orbán, Dezső (1884 - 1987)

Studio Still Life with Apples, Pears and Quince

Orbán, Dezső - Studio Still Life with Apples, Pears and Quince | 61st Spring Auction auction / 198 Lot
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60x80 cm
oil on canvas
signed lower left: Orbán

61st Spring Auction / 198. Lot (2019-05-20)
Starting price: 12 000 000 Ft / 33 379 EUR
Estimation: 16 000 000 Ft- 24 000 000 Ft
/ 44 505 EUR - 66 758 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: A Nyolcak. Cézanne és Matisse bűvöletében, Janus Pannonius Múzeum, Pécs, 2010, kat. 309.

Reproduced: A Nyolcak. Cézanne és Matisse bűvöletében. Szerk.: Markója Csilla – Bardoly István, Janus Pannonius Múzeum, Pécs, 2010, 346. oldal

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Study

A nagybányai fauve

A Münchenben tanult Ziffer Sándor a neós botrányhős, Czóbel hívására látogatott el először Nagybányára 1906-ban. Az egri polgárcsalád, bicegő, rossz hallású fiából tősgyökeres nagybányai festő vált, bozontos, vöröslő szakállal és lángoló színpalettával. Fogékonyan hallgatta Czóbel lelkesítő beszédeit a modern párizsi festőkről, mindenekelőtt Matisse-műveit magyarázó „Matissiádákat”, majd Párizsba látogatott, hogy saját szemével lássa a vadak törekvéseit. Visszatérve Nagybányára leülepedtek benne az avantgárd hatások, és 1908-ra kiforrt csattanós, vad koloritja, az úgynevezett „zifferiáda”. A következő pár évben a magyar fauvizmus főművei készültek műtermében.

Zifferiáda a kertben

Ziffer 1910-ben elvette a szabadiskolában tanuló berlini festőnőt, Käthe Beckhaust, majd együtt utaztak el Párizsba. Ziffer kiállított a fauve-ok legfontosabb fórumain, a Salon des Independants és a Salon d'Automne tárlatain 1911-ben, mint a nemzetközi irányzat fontos magyar képviselője. Felesége családi kapcsolatai nyomán 1913-ban Németországba költözött, és csak jó pár év múlva költözött vissza Nagybányára. Ebben az eseménygazdag pár évben született a most vizsgált festmény. Ziffer a rá jellemző, fauve-os erővel túlozta el a nyári napsütés színeit: a harsogó zöldek kicsattannak az erőtől, a termőföld terrakottaként lángol, miközben a kék, lila és zöld árnyékok gondoskodnak arról, hogy nehogy egy csepp feketeség keveredjen a színpalettába.

Romlatlan kertészlány

A kert és a kertészlány komoly kultúrtörténeti hagyományokra vezethető vissza az európai festészetben, amelyeket – az eredetileg művészettörténésznek készülő – Ziffer minden bizonnyal ismert. (A kertészlány más esetekben is széles karimájú szalmakalapban jelenik meg, például Johann Baptist Reiternél.) A középkori hagyomány zárt kertnek, azaz „hortus conclusus”-nak nevezte a körülkerített, bensőséges hatású, növényekkel benépesített helyeket, amelyeket elsősorban a kolostorok négyszögletes udvarán alakítottak ki a szerzetesek. A zárt kert elnevezés ugyanakkor bibliai metafora is, amely szövegszerűen az Énekek énekéből ered: „Zárt kert az én húgom, menyasszonyom. Elzárt kút, lepecsételt forrás” (ÉÉ 4,12). A gondosan óvott kert így a romlatlan női szemérem és a közeledő szerelem jelképe is, ahogyan az unikornist váró szűz késő középkori legendájában is szerepel.

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