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VIGH Bertalan I Bartholomaus, Femininity

VIGH Bertalan I Bartholomaus
1.600,00 EUR

oil on canvas
70 x 60 cm
signed lower right in brown: Vigh Bertalan
good state of conservation

 

VIGH Bertalan I Bartholomaus (1890, Rimavska Sobota, Slovakia – 1946, Budapest, Hungary)
Artistic education: 
Budapest Academy of Arts with FERENCZY Károly (1862-1917), BALLÓ Ede (1859-1936), HEGEDŰS László (1870-1911). As a result of his participation in the Creative Colony in Baia Mare, in 1913 he exhibited works from the period he spent there in Budapest. He worked on portraits in large, pictorial strokes in Russia and Hungary. He participated in the war in the Austro-Hungarian army. As a prisoner of war, he arrived in Tukistan, where, as a painter, he interpreted Russian social life.

An Austro-Hungarian artist originally from the current territories of Slovakia, VIGH Bertalan (1890, Rimská Sobota, Slovakia – 1946, Budapest, Hungary) was an artistic personality with relevant stylistic connections and affinities in relation to the Baia Mare Artistic Colony, participating in 1913, and later opening an exhibition in Budapest with works created in the Transylvanian space. During his studies in Budapest, he also had the chance to count among his teachers the Transylvanian FERENCZY Károly (Târgu Mureș, 1862 – Timișoara, 1917), considered one of the most important Hungarian painters of the time, in turn intimately linked to the Baia Mare painting colony. Established in 1896 in Baia Mare, in the early years of the colony founded and led at that time by Simon HOLLÓSSY (Sighetu Marmației, 1857 – Teceu Mare, Ukraine, 1918), FERENCZY K., finalized his personal style here in coherence with the orientation of the artistic colony in those years towards Austrian Secessionism, being later recognized in Romania as the most important representative of Hungarian Impressionism and the Baia Mare School. Under the guidance and direct influence of FERENCZY, VIGH Bertalan will inoculate his painting, in this phase, the defining features of the elegance of the new European art, before the First World War: the elegant drawing, the vibrant chromatic palette, and the overall decorativism. 
The painting "Femininity", made in ample pictorial strokes, from the heritage of the ART Depot, plastically reflects the atmosphere of that "belle epoque" before the horrors directly experienced by the painter, unleashed with the outbreak of the war, during which his life and creation will undergo profound changes. An active combatant in the Austro-Hungarian army, VIGH Bertalan is taken prisoner of war, arrives in Tukistan, where, as a painter, he interpreted Russian social life, obviously in a darker tone dictated by the new course of his life. Returning to the topic of today's discussion, the painting "Femininity" mentally transfers us to a space of assumed elegance, refinement, and artistic virtuosity capable of making sensory and artistic connections over time. Regardless of the knowledge of the cultural context in which this female portrait was made, the intuitive beauty of the posture, of the brief clothing props, of the modestly presented semi-nudity gives the image a clear plasticity, accessible to the viewer regardless of the time and geographical space to which it belongs. Projected against the background of a reddish wall, depicted in warm, ochre brick hues with quasi-erotic valences, the semi-nude and the female portrait presented in profile, absorb the entire gentle light of the composition, which the author manages to transfer to the viewer, along with a very pleasant sensation of tranquility and intimacy.

 

 
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