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  • Woman in a Red Dress with Green Background, 1929

Tihanyi, Lajos, (1885 - 1938)

Woman in a Red Dress with Green Background, 1929

Tihanyi, Lajos, - Woman in a Red Dress with Green Background, 1929 | 58th Spring Auction auction / 191 Lot
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75,5x64 cm
oil on canvas
signed lower left: L Tihanyi NY 929

LITERATURE

- Joffre generalisszimus levele egy Párizsban élő magyar művészhez. A Chicago Tribüne, New- York Herald és Times nagy cikkei Tihanyi Lajosról, akinek képe a Luxembourg-múzeumba került. Pesti Napló, 1926. december 21. (Generalissimus Joffre’s letter to a Hungarian artist living in Paris. The Chicago Tribüne’s, New-York Herald’s and Times’ large articles on Tihanyi Lajos, whose paintings were acquired by the museum of Luxembourg.)

- Majoros, Valéria Vanília: Tihanyi Lajos. A művész és művészete. Momentum-art, 2004. (The Artist and his Art)

- Majoros, Valéria Vanília: Tihanyi Lajos írásai és dokumentumok. Momentum-art, 2002. (Tihanyi Lajos’ Writings and Documents)

- Passuth Krisztina: Tihanyi Lajos. Egy bohém festő Budapesten, Berlinben és Párizsban. Kogart, 2012. (A Bohemian Artist in Budapest, Berlin and Paris)

- Linda K. Kerber és Darline Gay Levy: In Memoriam: Annette Kar Baxter (1926-1983). In.: American Quarterly, 1983, 455-457.

58th Spring Auction / 191. Lot (2018-05-13)
Starting price: 12 000 000 Ft / 33 789 EUR
Estimation: 15 000 000 Ft- 25 000 000 Ft
/ 42 237 EUR - 70 395 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!

58th Spring Auction

Date:

2018. May 13. 18:00 - 21:00

  • Conditions of sale

Reproduced: Majoros, Valéria Vanília: Tihanyi Lajos. A művész és művészete. Momentum-art, 2004, 46. kép (468.) (Picture 46, p 468. (The Artist and His art)

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Study

Nothing but colours and lines

The cultured, charmingly bohemian Tihanyi Lajos, who could read and write in four languages, worded his profession of faith as a modern artist crystal clearly in his autobiography, written in 1927: ”The critiques studying me mostly talk about my sketches and portraits, usually drawing the false conclusion that I was trying to express my inner feelings and expressions while painting. Those have about as much to do with my own inner happenings (Expressio), as portraying reality. My purpose is simply to make a connection between the colours and lines (to construct the painting), which is triggered by the tension between the colours I used and the direction of the movements of the lines”. It seems as if The Portrait Of Mrs. Kar, with its vivid game of lines and striking contrasts between the colours, would be an illustration of this thesis.

En route to a career

It was clear from the Pesti Napló’s victory-filled reporting from 1926 that Tihanyi Lajos, the modern master, who started his career out with The Eight did not get lost in the crowded-by-modern-art Paris. The paper’s correspondent reports of an exciting career-stage: „His career started as one’s usually does and by today it has reached heights only a few are able to reach. The artist decides to leave Budapest where so many people know his name and settles down in Paris. For years he exists unknown to the scores of strangers in the city. They get used to him, slowly, then they start to notice him in certain circles and in the end the eccentric Hungarian artist, Lajos Tihanyi, draws attention to himself outside his friends’ circle too. French artists, writers, and later Parisians working for international American newspapers start to talk about him and surprisedly admire his unconventional portraits. He is starting to become recognized and he is en route to: a career!”

In a cafe with Peggy Guggenheim

After his emigration to Paris Tihanyi spent most of his time in a Cafe called Dôme, where he met American art collectors. The extravagant Peggy Guggenheim or Catherine Dreier bought several paintings from Avant-garde Eastern-European artists. Tihanyi got in contact with both of the ladies and we are definitely aware of the fact that Penny Guggenheim bought one of his landscapes of Badacsony. The rich Hungarians living in America who visited Paris, all loved him too;  Zoltán Haraszti bought several of his paintings and bishop John Török -  whom he met through Mihály Károlyi –  ordered a portrait from him and made sure that he would get an invitation for an international exhibition in Brooklyn Museum. Thanks to this 1929 event Tihanyi was finally able to go to America.

New York, New York

Tihanyi spent a year and a half in the United States.  During this period he had two exhibitions and made connections in the lively circle of upholders of modern art. However, he could not settle down because the Economic Crisis swept away his dreams. (As he said in one of his letters: ”the crash came, there was no work nor selling anymore possible”) Despite of that he still made plenty of Cubist portraits of his new friends and acquaintances. He painted Henry Miller’s wife, Frank Dobo, his Parisian friend’s brother Stephen and his wife Elsa Rose Fukushima. He made a portrait of his colleague (Nicolas Suba) and his lover Cecile. There are many more unidentified male and female portraits; given the titles and the owners’ names they are mostly Americans (Bennet Toscan) and Hungarians (Sándor Barta, Dr. Hollós, Kármán). The Cubist female portrait studied here, which is painted in an incredibly modern spirit, was created sometime during this 1929 New York stay. The painting was taken home after many decades and thereafter it left the country again in the amazing Hungarian art collection of Nancy G. Brinker, former American ambassador.

Anna Kar

When the portrait first made an appearance in the Hungarian art market, the monographer of Tihanyi, Valéria Vanília Majoros identified the model sitting in the dazzling red dress as Mrs. Kar. Putatively the woman we see on the painting is Anna Kar, the mother of the pioneering researcher of the history of American women; Anette Kar. These two women’s and Tihanyi’s story is connected by the scandalous American writer Henry Miller, about whom Anette wrote a biographical novel, and whom Tihanyi met very often in Paris (before his American travel), in the company of such fine artists as photographer Brassaï or filmmaker Sándor Korda.

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