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  • Bernáth(y), Sándor
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  • Tractor, 1977

Bernáth(y), Sándor (1949 - 2012)

Tractor, 1977

 Bernáth(y), Sándor - Tractor, 1977 | 79th Winter Auction auction / 217 Lot
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120 x 81 cm
Oil on canvas
Signed lower right: Bernáthy, On the reverse autograph inscription

79th Winter Auction / 217. Lot (2025-12-14)
Starting price: 2 800 000 Ft / 7 708 EUR
Estimation: 4 800 000 Ft- 6 000 000 Ft
/ 13 213 EUR - 16 516 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!

79th Winter Auction

Date:

2025. December 14. 18:00 - 23:00

  • Conditions of sale

Exhibited: Művészeti pályázatok. Magyar Nemzeti Galéria, 1978., Muddy things I. Galeria Neon, Budapest, 2010., Bernáth/y Sándor emlékkiállítás. A38 Kiállítóhely, Budapest, 2012.

Reproduced: Művészeti pályázatok. Magyar Nemzeti Galéria, Budapest, 1978., Schwarz auf Geil 71’82’. Ferencvárosi Pincegaléria, Budapest, 1982., Novotny Tihamér – Wehner Tibor: A Szentendrei Vajda Lajos Stúdió. Szentendre, 2000, 81., Balkon, 2010/11–12., 30., Bernáthy Sándor. Szerk.: Tóth Árpád. Galeria Neon, Budapest, 2012, 22.

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Study

Irodalom

A Hannibál Projekt. Zombori Mónika beszélget Bernáth/y Sándorral. Balkon, 2010/11–12., 28–30.

Bernáth/y Sándor. Szerk.: Tóth Árpád. Galeria Neon, Budapest, 2012.

 

Az amerikai hiperrealista festők az olajzabáló, széles hátú limuzinokat festették meg tűéles ecsettel az 1970-es években, a fogyasztói kultúra krómacél csodáit. Az irányzat híres képviselője, Robert Bechtle például fotószerű részletrealizmussal jelenítette meg a kertvárosban parkoló 1971-es Buickot egyik olajképén (’71 Buick, 1972, Solomon R. Guggenheim Museum). A vasfüggöny keleti oldalán ilyen autócsodák nem közlekedtek az utakon. A hiperrealizmus magyar képviselőinek be kellett érniük a szocializmus fakó, lerobbant, rozsdás produktumaival. Bernáth(y) Sándor így nem egy országúti cirkálót festett meg precíz realista ecsetjével, hanem egy munkagépet, egy vörös traktort. Olyan közeli, fotós képkivágáson portretírozta a járművet, hogy a karosszéria, a hűtőrács és a fényszóró már-már absztrakt gépszerkezetté olvad össze a tekeredő gumicső (talán egy turbókompresszor) és a rozsdás acéllap (talán egy frontális tolólap) társaságában.

A szocialista vidék gyáripari munkásai közé beilleszkedni nem tudó Bernáth(y) (akkor még csak Bernáth) a szomszédos faluból, Mezőszemeréről származó Bukta Imrével együtt talált rá a képzőművészetre. Példaképének Csontváry Kosztka Tivadart választotta, az ő stílusában készítette korai tájképeit. Különböző szabadiskolákban képezte magát (Sváby Lajos, Fajó János), hogy felkészüljön a művészeti pályára. 1977-ben a szentendrei Vajda Lajos Stúdióval – a Fiatal Képzőművészek Stúdióján belül – megalakították a Kísérleti Műhelyt, Leninvárosban (ma Tiszaújváros) pedig a Tiszai Vegyi Kombinátban művészeti csoportot hoztak létre. „Rosszul viselkedtek ugyan, de azt jól csinálták” – írta az újdadaista társaságról a korabeli brigádnapló. Bernáth(y) a cinizmus hiperrealista fegyverével győzte le a rendszert. Ahogy kései interjújában mondta: „A nyugati hiperrealizmus megteremtői másféle szabadságban szenvedtek, mint mi, akik másfajta elnyomást élveztünk. Én a szocialista realizmus propagandisztikus, cinikus, sok pénzbe kerülő snassz sajtóblöffjeire koncentráltam. Nem tettem mást, csak a »realizmus« elé tettem az új nevem y-ját. A magyar nyelv zsenialitásából következően ellenkező előjelet kapott, és így lett »yrealizmus« és maradt szocializmus. Szocialista yrealizmus.” Ennek a „szocialista yrealizmusnak” főműve a most vizsgált alkotás.

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