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Neither in its paradoxical, dichotomous, ironic and self-ironic symbolism, nor in its significance in art history, nor in its technical, artistic execution, nor in its physical dimensions, are there any Bortnyik paintings more significant in the world than this artwork!
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The originality of the painting was confirmed by the attached expert opinion of László Borbély, the most understanding, recognized and prepared expert of the art of Sándor Bortnyik in Hungary - and thus in the whole world!
László Borbély spent a significant part of his life and work as a retired senior researcher at the Hungarian National Gallery studying the art of Sándor Bortnyik! On behalf of the Hungarian National Gallery - as a young staff member - for a year he was able to observe Bortnyik's artistic activity, study his creative methods and procedures, analyze his specific style and concept of astringent irony, and the birth of his works, the process, the technical methods, the brushwork, the production of the paint materials, the creative decisions of the artist.
After that, most of his work was devoted to the study of the oeuvre of Sándor Bortnyik and to the scientific incorporation of one of the greatest Hungarian avant-garde artists in the framework of Hungarian and universal art history. Due to these facts, there is no more competent person in the world today to examine the authenticity of the works of Sándor Bortnyik than László Borbély!
András Szekfü Szilvia Szilády dr. Introduction 1.
The revolutionary period after the war - today we can see it more precisely as a social upheaval and sometimes subversion - was "pregnant" with the promise of a new "social contract".
In the middle of the rage of the First World War - as a result of experiencing the senseless and impassioned cruelty of self-destruction - the Dadaism, organized as an artistic protest against the upheaval in Zurich's civil calm, effectively meant nothing but denied everything.
This kind of artistic anarchism has not - never - "let roots" in Hungary. And here Alexander Sándor Bortnyik "comes into the picture".
Gyártók, márkák, akik szerepelnek kínálatunkban - Áfeherhold.hu
For he could not "resist" too, to the peculiar constructivism of Kassák, which had an impact on Moholy-Nagy either, because he did not want to! This is how the brilliant constructivist paintings of the MA Today album were born!
As well as the name of the - deservedly world-famous - variety of constructivism represented by the Kassák: the plane-geometric picture-architecture! Which term comes from Alexander Sándor Bortnyik! Proponents of plane-geometric picture-architecture were so fanatical proponents of the two-dimensional creative method that they had knife-to-knife debates with their opponents.
The artistic projection of Sándor Bortnyik's spiritual-psychological process of social disillusionment was a gradual but definite departure from the concept of plane-geometric picture-architecture. The abandonment i. Because what can we see on the painting? We can see that the artist also wanted to draw a sharp cesura with the tools of picture editing between the two-dimensional creative process of plane-geometric picture-architecture and the three-dimensional editing mode corresponding to the new approach of the unfolding!
Because the cohesive lines, the optical effect of the shortening explicitly and emphatically gives depth, it gives a three-dimensional optical effect to the painting! He tekintse át az öregedésgátló arcszérumokat on this painting - had left his former creative style, which he has cultivated until then, and turned with a special emphasis on returning to and switching to three-dimensional image editing methods!
It adds further emphasis to this intention by the fact that the main figures in the painting are placed in a three-part space, so there is a foreground and there is a background representation.
To which stylistic debates are added the differences between László Moholy-Nagy and Casimir Malevich on the question of the importance of texture and facture - more precisely photography and painting! Which principle Malevich insisted on in practice, since - if this is not so decisive in his paintings conceived in the suprematist style - the thick layer of paint, the well-perceptible texture, which he intended to have an independent artistic expressive role, plays a decisive role in his cubo-futurist works!
He painted by an only - in its characteristic style and world-class quality - for him typical method! The troubled phase of social and artistic disillusion, which was consciously taking place in his mind in parallel with each other, was ended by joining a new style, to a new artistic trend that appeared at that time!
The new trend in which, - in addition to the creation of further planar constructivist works of the initial year or two, - he began to create was the Neue Sachlichkeit established in Weimar, the so-called New Objectivity, or the New Impartiality!
This artistic trend was born out of a process of disillusionment that filled some artists with the spectacular bankruptcy of those who promised to improve the society after the First World War, who wanted fondation pro helvetia suisse anti aging reshape society for the benefit of humanity - quite idealistic and voluntarist, and thus most in some cases, turning the societies into chaos, further suffering, total anarchy and bloody dictatorships - never fulfilled social expectations and very sad and tragic experiments that carried the promise of a better and happier human future before and even during and after World War I, but failed!
The conclusion of the artists who shaped this new artistic trend was as follows. Disillusionment, the loss of illusions - as with other artists who joined this new trend - was also twofold with Alexander Bortnyik! It prevailed in both social and artistic terms! Of course, even inhe made artworks in a plane-geometric style. She met with him in Weimar in and also he became her muse, as he was the inspiration for her two best paintings.
This was the year - - when Bortnyik came to the big decisions and to the big shifts.
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This is when his paintings of Modern Eve and Raum, Frau, Ich Space, Woman, Me conceived in the style of the Neue Sachlichkeit, were made, the figurative elements of which he incorporated into his painting, in the Painter and Model the following year! And the lady torso of both of the latter paintings is her love, Alma later Siedhoff - Buscher. Bortnyik was happy to use the method of compilation from his own works, insofar as it intended its role in validating his artistic concept.
In this painting, in the Painter and Model, like on the painting of the The Space, Woman, Me appears the figure of Alma Busher, and in addition to the figure of Alma Buscher, the puppet figure of his former painting Modern Evealso made inalso appears!
Because the artist needed both the flesh-and-blood shape of his love and a lifeless and soulless puppet to achieve his ironic, paradoxical, satirical, dichotomous goals!
Alma Buscher also designed a children's room that fully meets the innovative spirit of the Bauhaus with colorful and functional furniture and interesting toys adapted to the size of the children! Which also won the favor of László Moholy-Nagy in such a degree, that he called the new concept children's room created by Alma Buscher the "trade sign" of the Bauhaus.
Thus, in order to realize his symbolic, paradoxical, dichotomous and self-ironic artistic concept, Bortnyik took over the figure of the Modern Eve puppet, and the Alma Buscher torso of his painting titled Space, Woman, Me in his painting the Painter and Model.
At the same time, the figure of the painter - Bortnyik himself - appears for the first time in his painting entitled Painter and Model! Then, for the second time his figure appears on his work entitled The Painter inwhich can be found in the Collection of Deák of the Székesfehérvár City Gallery.
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And this accumulation of crisis brought to the surface, chirped and honed in his soul and spirit these two masterpieces - in the spirit of Frigyes Frederik Karinthy's "I can't tell anyone, so I'll tell everyone Moreover, the crisis of privacy in itself was twofold in his soul, as he was tormented at the same time by the feeling and thought of homesickness and separation from his love. He had been tormented by homesickness for years, and by he was determined to return home somehow!
Because he felt that his artistic nature was also grinded by the constant internal tension. However, from the first minute of this decision, he was aware that his love, Alma Buscher, would not follow him to A legjobb ranctalanitok. Imagine the position and wrestling of the artist!
If fondation pro helvetia suisse anti aging give in to your love, you will be tormented by constant homesickness and will truncate and block your artistic fulfillment! If you let go of your desire to go home, you will in turn throw away your love - maybe love itself! How would you decide?
In the two paintings, the figure of Alma Siedhoff - Buscher actually appears as a torso, in fact, but on a stand! The artist knew, he felt, that his love was no longer entirely his own.
The railroad system, which has a total track length of about 5, km, is entirely electrified. Mountain aerial cableways total km in length, funiculars 55 km, and cog railways 97 km. Switzerland has 18, km of highways. As of there were 1, passenger cars, 43, trucks, and 4, buses. There is navigation on the Rhine from Basel and on the lakes.
He had already felt part of his love lost as he succumbed to the excruciating homesickness. In space to move away! Saturated with vivid memories - not even a year has passed since parting - of his beloved body, soul, flesh-and-blood shape, even parting with his soul-shrinking phantom pains in his brain, but already with some fondation pro helvetia suisse anti aging mixed with resignated self-irony, so characteristic of Bortnyik's personality, he looks back on his last Weimar years!
The painting entitled Space, Woman, Me is also a reflection of tearing, resigned meditation. This picture is still free of all irony, self-irony!
From the grotesque of Bortnyik's, on the other hand, the "half-cutting" of the Alma Siedhoff - Buscher figure already gives "some taste"! And the "counterpoint" of the light, almost artificially "airy" - but appearing as a torso - female figure - like a double paradox - with a thick, solid support stand embedded in a heavy marble foundation.
Namely, a puppet, a puppet figure. Fondation pro helvetia suisse anti aging ironic and at the same time self-ironic, paradoxical transformation is the sarcastic, dichotomous pictorial manifestation of the changes that have taken place in the artist's soul.
This period has been characterized by a specific and totally different evolution of this institution, which was no more under the control of the Church. For the purposes of conducting its charter issuing activity, lay letter searchers requisitors were appointed by the princes, who were also paying these office holders. They became the office holders of Queen Isabela and, after a while, of his son, prince Ioan Sigismund of Zápolya. The fact that some earlier members of the Chapter continued their work at the place of authentication proves that the state apparatus of the newly born Principality needed these intellectuals who had been previously educated by the Catholic Church.
The painting depicts multi-layered contradictions with extraordinary compression force! The shape of Alma Siedhoff-Buscher is set in front of a serious red drapery that suggests sultry eroticism, which in turn down closes - incloses - the space! Which space - the home - is the lifeblood of the artist! And what do we see behind the puppet figure? The fondation pro helvetia suisse anti aging and wide space, the outside world, the homelandperspective, lawn, buildings Bauhaus buildingsclouds, the boundaries of grenchen suisse anti aging boundless sky!
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That is. Freedom yourself!
Thus, Sándor Bortnyik has compiled multi-layered and individual deep psychological analysis, as well as ethical, aesthetic and intellectual social critique, which can be the subject of their content - contents for his masterpiece! There is not yet such a complex and symbolic meaning, there is not yet such an ironic and self-ironic, there is not yet such a paradoxical, there is not yet such a sarcastic, such a dichotomous creation of Bortnyik as the painting entitled the Painter and Model!
The painting is one of the most fondation pro helvetia suisse anti aging works of the Neue Sachlichkeit artistic trend by international standards! There is no - not even in the world - another masterpiece that includes such a complex and multi-layered meaning in such a psychologizing and moralizing dichotomous, satirical and self-ironic paradox as the masterpiece of Alexander Bortnyik's, the Painter and Model!
The work, far beyond its visuals, which is brilliant in itself, carries such a complex, multi-layered, contradictory and self-contradictory, philosophizing and moralizing meanings that make it the outstanding artwork of the Hungarian and international history of fine art.
Bortnyik is a world-class artist and this work of him is full of unique intellectual content. It is the masterpiece of its most significant, outstanding creator! In addition to its visual, symbolic and intellectual values, the painting is also placed by its dimensions among the outstanding works. This painting, with its size of 93x66 centimeters, is the largest work known to date by Sándor Bortnyik in its physical dimensions!
Considering the aesthetic quality and complex symbolic, intellectual content characteristics analyzed above, the literally historical and art historical nature of the painting - closely related to the artist's life and indicating a paradigm shift in art and private life - it can be stated beyond doubt that the Painter and Model of Sándor Bortnyik is the most significant work of his creative work, the masterpiece of the artist!
Upon delivery to Paris, the painting was damaged, but the auction house restored it before the auction took place.