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81th Autumn auction

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12 October 2026, 18:00 - 12 October 2026, 22:00

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Budapest Marriott Hotel

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  • Untitled (Chess with the Ladies of Avignon), 1996

Kelemen, Károly (1948 - 2024)

Untitled (Chess with the Ladies of Avignon), 1996

 Kelemen, Károly - Untitled (Chess with the Ladies of Avignon), 1996 | 75th Autumn auction auction / 152 Lot
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178 x 158 cm
Oil on canvas
Signed lower right: KK 96

Provenance: Earlier in the american private collection

75th Autumn auction / 152. Lot (2024-10-11)
Starting price: 12 000 000 Ft / 33 379 EUR
Estimation: 14 000 000 Ft- 19 000 000 Ft
/ 38 942 EUR - 52 850 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!

75th Autumn auction

Date:

2024. October 11. 18:00 - 22:00

  • Conditions of sale

Reproduced: Kelemen Károly. Retrospektív. 1975–2002. Szerk.: Kelemen Károly, Jelenkor, Pécs, 2002, 218.

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Study

Irodalom

Gyetvai Ágnes: Raszter vagy radír. Mozgó Világ, 1980/11., 12–18.

Frank János Medveének. Élet és Irodalom, 1993/42., 14.

Radnóti Sándor: Tisztelt hölgyeim és uraim. Balkon, 1995/10–11., 34.

Kelemen Károly. Retrospektív. 1975–2002. Szerk.: Kelemen Károly, Jelenkor, Pécs, 2002.

 

Kelemen Károly az 1980-as években kiforró új festészeti hullám robusztus fő képviselője, a „magyar posztmodern festészet törvényalkotója” (Frank János), a mai kortárs képzőművészet egyik kulcsfontosságú figurája. A Rózsa kör tagjaként az utolsó konceptuális nemzedékkel indult a hetvenes években, de a „radírképekkel”, vagyis a fotórealistán megrajzolt, majd félig megsemmisített klasszikusokkal már átlépett a posztmodern mezejére. Képekből csinált képeket. „Az iparosodott világ kulturális jelképgyárának kiszolgáltatott tudat ugyanis nem teremt újdonságértéket (innovációt). A fogyasztásban merül el, így e tudatot (a tömegtudatot) betöltő képzetek, képmások nem önálló szellemi alkotások, hanem előregyártott sémák, kulturális késztermékek, ready-made-ek” – írta értő magyarázója, Gyetvai Ágnes 1980-ban.

Kelemen az új szenzibilitás eklektikus tornádójában – már vidám expresszív gesztusok között – végképp eljegyezte magát a talált képekkel. A ma már a Magyar Nemzeti Galériában őrzött ikonikus képén, az 1985-ben keletkezett Vasaló medvében Picasso kék korszakának remekére zúdította rá a művészettörténetet és saját egóját. Izgatott ecsetnyomokkal idézte meg a kubizmus megtört síkjait (hogy legyen mit kivasalni), miközben a törékeny nőalak helyére saját alteregóját, a medvét helyezte, kigyúrt játékmackó formájában. Ez a programadó festmény azt a totális eklektikát jelezte, ahogy robusztus művészetében mindenféle talált motívumot összemontírozott egymással.

A kilencvenes évek közepén ráfókuszált Picassóra és a kubizmus előfutárára, az Avignoni kisasszonyokra. A most vizsgált nagy méretű képen is ez történik. A korai kubizmus szürkés színvilágában jelennek meg az avignoni bordély kristályosra tördelt nőalakjai, fejükön az elmaradhatatlan afrikai maszkokkal. Kelemen nem kivasalja ezúttal a kubizmust, hanem Duchamp (és Erdély Miklós) sakktábláján mozgatja figuráit. Nem személy szerint, hanem a tarka festékfoltokkal kidekorált monumentális mackó alteregó segítségével. Kelemen nem látta eredetiben az Avignoni kisasszonyokat New Yorkban – ahogy Radnóti Sándor 1995-ös megnyitószövegéből tudjuk –, de ez is azt mutatja, hogy „Picasso festménye mennyire elhíresült és bárhol idézhető”. Úgy illesztette be a tömegreprodukciókról ismert művészettörténeti ikont saját kompozíciójába, mint Francis Bacon a Rómában szintén fel nem keresett X. Ince pápát. Kelemennél – folytatta Radnóti – „minden mű, amelyet másol és variál, témává és sémává minősül vissza, amelyet szabadon gyúr, torzít, kombinál a sajátjává. Egységes, személyes stílust ad annak, ami más személyes stílusaiból ered.” Ez a személyes stílus olyan erővel dolgozik együtt a klasszikusokkal, hogy a most vizsgált telivér főművét egészen Yoko Ono és John Lennon manhattani stúdiójába repítette.

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