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  • Young Lady in Black Gloves

Medveczky, Jenő (1902 - 1969)

Young Lady in Black Gloves

Medveczky, Jenő - Young Lady in Black Gloves | 15th Auction auction / 99 Lot
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76.5x50 cm
pastel on paper
signed lower left: Medveczky 32

15th Auction / 99. Lot (2001-04-27)
Starting price: 2 500 000 Ft / 7 039 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!

15th Auction

Date:

2001. April 27. 17:00 - 21:00

  • Conditions of sale

Style:  Neoclassicism

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

Bibliography:
Lóránth László: Paletta. Jelen Könyvkiadó, é. n.
O. Jobbágy Zsuzsa: Medveczky Jenő, Budapest, 1982
P. Szücs Julianna: A római iskola. Budapest, 1987

Rare are the chances for an auctionary exhibition to be able to display in public two Hungarian neoclassicist portraits of exceptional quality at the same time. Put together, Kontuly Béla's portrait of a child and Medveczky's work depicting a lady of stunning beauty present an excellent occasion for us to compare two paintings of similar inspiration. Both of them are characterized by emphatic structuring, minute elaboration of form and an influence dating back to 14th and 15th century paintings, those of Giotto, Masaccio and Piero, whose tradition is reestablished here by monumental and condensed composition. From several points of view, however, problems of the portrait genre, highly fashionable after the period of isms faded out, are overcome differently in these otherwise similar paintings. Of course antiquity, renaissance and contemporary Italian art proved highly influential, for both artists issued from the Roman school, but Medveczky's paintings seem to bear traces of a Parisian impact, as well. Many features of his portrait here remind one of Picasso, Braque and Metzinger - just consider the model's round eyes and her charming elegance - while out of the old school it recalls aristocratic women portrayed by the classicist Ingres. The surroundings of Medveczky's portrait follow renaissance examples with their simple structure leading to depths of architectural space.
This rather puritan resolution is further combined geometrically by elevating the angle and by flattening, almost, the enclosing walls. Perpendicular lines running from where these walls join, bright light broken by and cast from the window. Each and every element of the background tot up to a veritable visual panorama. In spite of this everything appears to be altered and reshaped as if logically arranged in a formally puritan, abstract painting. To quote Dezső Korniss, 'Medveczky seems to be the one closest to abstract painting, he was so close as to filter objective painting through abstraction.' Different elements of composition, form, lines and colors result from and respond to one another, just as the arc, starting form the elbow of the left arm and ending in the neck, cuts into the elliptic curve formed by the décolletage's hem and the shadowline continuing it.
The nude showing up behind the model proves an exciting and vivid formal element, but, as was natural with renaissance portraits, it also stands as an attributive requisite explaining and interpreting the person represented in the foreground.
Apart from the rare recourse to, and the quality of, this pastel technique in the artist's ouevre, the painting achieves an unmatchable harmony between the depicted model's exquisite beauty, her perfect elegance and its classicist composition coupled with spectacular, though subtle, handling of colors.

Molnos, Péter

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