After some time I am able to present a little photobook from early works of Miklós Németh. In my opinion it is still a lot to learn about this artist and especially his circumstances he had to work.
Hans Knoll (an austro-hungarain gallerist) edited a book about the different political circumstances in Hungary and its impact for the art world at that times (“Die zweite Öffentlichkeit” Kunst in Ungarn im 20.Jahrhundert – hungarian edition: a második nyilvánosság” http://budapest.knollgalerie.at/570.html) As well Miklós Németh had to fight in those times – and not having an official diploma made his life not easier in the 60íes after the socialist regime came to power and streamlined hungarian art.
The more interesting is the fact how independent Németh developed his own style reflecting the joy of live with his enormous colorful paintings where nature, love and the beauty of live are in the centre of his artistic focus which he captured like in a time capsule.
A little step towards to work out of this part of art history and the role of Miklós Németh might be to get to know more about the artworks of Németh during this time starting with the Marffy school in 1950 and continuing with the collaboration with Ilosvai Istvan Varga and Toth Menyhért.
again a post about the great hungarian painter Miklós Németh who really catches me even if I am not looking at his paintings. I am actually exploring some of his diaries which are partly colorfully designed and which describe e.g. his daily work at painting and other thoughts.
Just examples which I am proud of to be able to show: a fantastic self portrait by the 22 year old Miklos Németh and a sample page of one of his diaries.
I want the spectators of his art to focus on the real and right works because they are so fascinating and show his development as a painter. As long it is not yet really open to add works in the work directory (which partly is done by the austrian private trust Lengersdorff) I will continue to document and publish my own, which should be – I hope – a great addition to the public once in future.
Anyone who might want to help on this endeavor is greatly invited to join. I am keen to discuss ways how to help to give Miklós Németh the place in the art world he deserves for.
All rights reserved. Copyright Miklós Németh. Private collection Szalay
All rights reserved. Copyright: Miklós Németh. Courtesy of Péter Perina
Schon öfters dachte ich, dass meine geistige Fähigkeiten sehr beschränkt wären, vor allem wenn ich Kunstkataloge lese. Oft verstehe ich nicht, was der Kurator bzw. der Kunsthistoriker sagen möchte.
Dieses “Problem” beichtete ich meinem Bekannten Rudolf Schramm in Wien, um auch zu testen, ob ich der einzige bin, dem dies wiederfährt.
Witzigerweise -und das wusste ich vorher nicht- sagte er mir, dass er sich auch schon mit dieser Thematik auseinandergesetzt und dies auf seiner Webseite http://www.kunst-kauderwelsch.at dokumentiert hätte.
Dies wollte ich meinern followern nicht vorenthalten.
The combination of paintings and texts or messages is something, which can be seen in the art world frequently: René Magritte, Joseph Beuys, Jean-Michel Basquiat, Mario Dalpra or Franz West use that technique to express their “inner world” and transport messages to the observer of their work.
I follow up that topic (“autographs are art”) in my blog with the topic of ARTURES which were invented by the turkish artist YÜKSEL ARSLAN. ARTURES is an expression which combines “ART” and “peintURES” ore “litterartURES”.
In 1964, Arslan’s “artures” were included in the exhibition entitled “The Origins, History and Relationships of Surrealism” organized by the Galerie Charpentier, and viewed today as one of the most important exhibitions of the history of Surrealism.
Yüksel Arslan lives since 1962 in Paris and had long lasting contacts to the known surrealists at that time – In 1964, Arslan’s “artures” were included in the exhibition entitled “The Origins, History and Relationships of Surrealism” organized by the Galerie Charpentier, and viewed today as one of the most important exhibitions of the history of Surrealism ( see as well http://www.galerinev.com/en/sanatcilar/detay/33/yuksel-arslan )
Robert Haas (1898-1977) was born in Heilbronn and studied at the Academy of Arts in Munich beginning from 1918 (after being war painter from 1914-1918). In 1936 he became part of the Kieler Artist federation. 1955 he started to be an independent artist and lived in Chelles s/Marne near Paris from 1959 on.
He was a good friend of our family and that was the reason we were often together with him and his wife during his stays in Heilbronn, when he came back from Paris. Of course we were as well impressed by his pictures and work he presented or he gave to us.
Typical for Robert Haas´s paintings were surrealistic scenes as well scenes from french towns like Paris and others.
I show here his last self-portrait he gave to my father shortly before his death (unpublished) and typical examples of town paintings (which sometimes remember to the Paris´painters like Utrillo, Vuillard, Bonnard, Dufy).
What a nice little exhibition catalogue from 1974 signed by Horst Janssen. His typical signature comes along with a small little sketch highlighting the “Ulmer Dom”, as the exhibition was taking place at the Kunstverein in Ulm . This catalogue shows examples from his etchings between 1958-1961, which is meant “his ideal medium, his personal claim, his legitime ace” (Hans Kinkel) .