Reconsidered and unknown works at the Czóbel Museum


The exhibition Czóbel Reconsidered 3.0 on view all year round at the Czóbel Museum also features works that have never been seen before in Hungary and are completely unknown in Europe. This time around, the exhibition focuses on Béla Czóbel’s connection to German expressionism, during his Berlin period (1919—1925). The showcased material includes a work that was last exhibited in Hungary in 1971, and since then has been adorning the walls of the Centre Pompidou, as well as numerous paintings uncovered by Hungarian art literature, which has arrived from the Buchheim Museum in Germany. And, while his work entitled Windmill in Bergen, painted in the Netherlands in 1917, has been part of the FMC Collection for quite some time, no one has bothered to turn it over and look: the reverse side of the canvas contains a detail of what is presumably a Vilmos Huszár painting. Czóbel painted his A Corner of the Studio on a similarly recycled canvas – but that is all that will be revealed for now. Light will be shed on other secrets as well: visitors will find out which works, regarded by Czóbel as a source of inspiration, did he reproduce (in manner similar to his fellow painters of The Eight) and which portrait did he reject, completely covering it up in paint. An unusually large-size plein air study from 1904, from the Baia Mare period, constitutes an especially lucky find. This masterpiece painted in vibrant colours was tucked away in a foreign art collection and it was two weeks before the opening of the exhibition that the collector got in touch with the curator, Gergely Barki. In addition to these special pieces, we can also see pictures of everyday life; our favourite is the photo of the naughty-faced artist and his model, sprawled on the sofa wearing nothing but a satisfied smile.

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Sam HAVADTOY: Memory of Love


The Ferenczy Museum Center cordially invites you and your partner to the vernissage of exhibition to be held on Saturday, 14th of July 2018, at 7 p. m. in Ferenczy Múzeum
Adress: Szentendre, Kossuth Lajos utca 5.

Welcoming speech by: Gábor Gulyás Museum Director

Introduction by: Dorottya Gyürk, Szentendre’s Deputy Mayor for Culture

The exhibition will be opened by: Tamás Krúdy journalist, chief editor of Nők Lapja

Curator: Zsófia Júlia Szilágyi

Contributors:
Judit Rajk – vocals
Anastasia Razvalyaeva – harp

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Memory of Love


Sam Havadtoy was born to Hungarian parents in London in 1952. His family moved back to Budapest in the summer of 1956, from where, as a 19-year-old, he escaped through Yugoslavia and returned to London. Having then settled in New York City, he was soon living and working in the centre of the progressive art scene of the seventies and eighties, in the proximity of such prominent artists as Andy Warhol, Keith Haring, Agnes Martin and Robert Rauschenberg. Havadtoy, who was in increasingly high demand as an interior designer, gradually shifted his focus towards fine art, and, in the early eighties, began creating his paintings. While his art – which showed increasing diversity in terms of genres – reflects the influence of American abstract geometrism, pop art, and conceptual art, there is also a palpable sense of the airless scarcity that characterized the experience of the artist’s youth spent in Hungary.

The majority of the showcased works are exhibited for the first time. The latest works created in Havadtoy’s Szentendre studio also fall in line with the artist’s “lacework” series, which has by now become his trademark. The exhibition features a series that began with the transformation of a delicately thin Hungarian lace glove, as well as Walt Disney and Modigliani paraphrases and a miniature bronze version of the iconic Fiat 500. While all appears to be overrun by, and covered in, lace, the silenced, discrete presence of the created objects, as well as of the artist’s confessions and stories inherited in the form of lace, shine through the carefully laid layers and diversely structured gaps.

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