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  • Perlrott Csaba, Vilmos
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  • The Notre Dame in Paris

Perlrott Csaba, Vilmos (1880 - 1955)

The Notre Dame in Paris

 Perlrott Csaba, Vilmos - The Notre Dame in Paris | 22. Auction auction / 24 Lot
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64.5x53.5 cm
Oil on canvas
Signed lower right Perlrott Csaba

22. Auction / 24. Lot (2003-05-16)
Starting price: 2 200 000 Ft / 6 016 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:
Lyka, Károly: Festészetünk a két világháború között
Corvina Kiadó 1984

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    More than 100.000 Hungarian works of art

  • We provide certificate work of origin for every purchased work of art
    We provide certificate work of origin for every purchased work of art

  • Personal viewing in the gallery
    After making an appointment in the Kieselbach Gallery in Budapest

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Study

Perlrott, Csaba Vilmos művészete
Bornemisza Géza előszavával
Dante Kiadás 1929

Gráber, Margit: Emlékezések könyve
Gondolat Kiadó 1991

Notre-Dame is the manifestation moulded in stone of the french mentality. It appears in the artist's painting partly as an individual theme and partly as an element of composition mainly in the rather fertile artistic period of 1925-1930.The well-balanced architecture of this building stands as the striking symbol of his artistic pursuit in the background or foreground of his paintings.
Perlrott had a very close contact with Paris already in the first years of the 20th century in his period in Nagybánya. The vivid and inflamed art of Paris especially Matisse made a decisive change in his career.
Beside the coulourful painting of the Fauves he discovered and became more familiar with the art of Cézanne. The cubistic sinking-in of his works feeds mainly on this influence.
Until the outbreak of the 2. world war the artist had visited to the "capital of the painting" almost twenty times. The most favoured place of the examined period some time between1925-30 was the little room in the Hotel Notre-Dame, right apposite the cathedral. He painted the cathedral, the rolling Seine with her bridges from the window of his room. He made several versions of its motifs with oil and pastel. This theme was rather popular among the Hungarian artists working in the city- Czóbel, Béla, Diener, Dénes Rudolf, Kmetty, János, Gráber,Margit-too. By this time the revolution of art around Picasso and Braque had been over, however the atmosphere of the city was vibrating by the most various art schools( flows). The haunt of the artists was the Café Dom. Before dropping in they used to paint nudes in one of the art schools in return of a bit of money. Beside the property of paintings several grafics by Perlrott, Csaba Vilmos came down to us, the posterity. These ones of mainly high quality can be regarded as individual works.




The cathedral being the symbol of the history of France and the city view of Paris has a more underlined stress in the evening light. Looking at the several motifs of Notre-Dame gives nearly the evidence of exictence of the eternal unchangeable, legitimate peace and order. This art is strict and serious. In the structure of the depicted city view in a way of keeping a distance typical of the artist the formes stand hard and strictly next to each other and in the area.
Colours have a very significant role in each an every painting of the artist. He combines them showing an excellent taste in his individual creative work under the influence of the french lesson.
It may be strange, but in this darkish view depicted in the evening ligths stands out a kind of total polychromy due to the use of the strong and dark colour scheme.

The examined period in Paris Perlrott had his wife, Gráber,Margit with him. That is why it is natural that they worked under the influence of similar experiences. Even she was inspired by the Seine Bridge in the lights of candelabrums and the cathedral.

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