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  • White magnolia, 1866

Szinyei Merse, Pál (1845 - 1920)

White magnolia, 1866

Szinyei Merse, Pál - White magnolia, 1866 | 17th Auction auction / 23 Lot
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33x39.5 cm
oil on canvas
signed lower right:: f. (painted) Szinyei Pál 1866

17th Auction / 23. Lot (2001-12-07)
Starting price: 4 500 000 Ft / 12 306 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!

17th Auction

Date:

2001. December 7. 17:00 - 21:00

  • Conditions of sale

Style:  Realism

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Study

Exhibited:
BÁV. 10TH Auction, 1964. Item No.83.
BÁV 42th Auction, 1977. Item No. 336.
Szinyei Merse and his Circle. Hungarian National Gallery, 1990. Catalogue: picture 40.

It is always a sensation today when one of Szinyei Merse's pictures appears on the market, and it is even more interesting if the picture is dated from the early years of his career. Magnolia was painted in 1866, after Szinyei had accomplished a preparatory course in Munich. By that time he had been studying art for six years. His master in Hungary was Lajos Mezey. In Munich he felt at home in the circle of artists and his best friends were Gyula Benczúr and Sándor Liezen-Mayer. Hans Makart, who was an outstanding figure of historical painting at that time, and Wilhelm Leibl, the great German painter were also the members of his company.
In 1866 Szinyei went back to Hungary because of the events of the Prussian- Austrian war. During the months spent at home he made some family portraits and the painted the Magnolia. Still life is an exceptional thing in Szinyei's oeuvre; there are only one or two examples of this genre among his pictures. Though his few still lifes (for example the Study of an Apple) prove that he was a master of this genre, he preferred painting landscapes and figurative compositions put into landscapes.
In still lifes the illustrative characteristic of representation stays in the background, and the most characteristic elements of painting are able to dominate: composition, drawing, color and light. It is understandable, why Manet, one of Szinyei's most famous contemporaries, liked this genre so much. Though Szinyei Merse must have become the admirer of Courbet and his fellow-artists' art only some years later, Magnolia already showed the way of representation which turned the painter's attention from historical painting to more modern tendencies. Art historical studies have stressed several times that Szinyei Merse's paintings made in 1866 were very much akin to the early works of Manet and Courbet. The picture under discussion can also evoke Manet's still life with Indian roses, which can be seen in Musee D'Orsay. The application of light stains unfolding from the dark, neutral background, which creates the feeling of spatiality, the simple theme of the picture and the compact, laconic composition are all elements that show the similitude between the two painters' methods of creating pictures.
Despite the austerity of the setting-up, Szinyei Merse found a way to give the viewer a complex, sensuous pleasure. All the viewers' senses are addressed by the illusion of the scent of flowers, the light stain twinkling on the waxed surface of the leaf and the representation of materials with different surfaces. The illusion of touch is evoked by the representation of the stiff leaves, the surface of the table-board, the creamed, limber blooms and the smooth, soft moss. Painting such a beautiful picture of the tulip tree must have served as a proof of his complex technical knowledge not only for himself but also for his parents who were very worried about his advancement. Those, who looked at this picture could not have any doubts about his talent and workmanship.

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