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  • Still-Life with the Shadow of the Setting Sun and Art Decp Bonbonier, 1939

Fülöp, Antal Andor (1908 - 1979)

Still-Life with the Shadow of the Setting Sun and Art Decp Bonbonier, 1939

 Fülöp, Antal Andor - Still-Life with the Shadow of the Setting Sun and Art Decp Bonbonier, 1939 | 76th auction auction / 139 Lot
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60,5 x 55 cm
Oil on canvas
Signed upper left: Fülöp Antal Andor

76th auction / 139. Lot (2024-12-10)
Starting price: 2 400 000 Ft / 5 937 EUR
Estimation: 3 600 000 Ft- 5 500 000 Ft
/ 8 906 EUR - 13 606 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!

76th auction

Date:

2024. December 10. 18:00 - 22:00

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Exhibited: Az erdélyi magyar képzőművészeti kiállítás, Nemzeti Szalon, 1939 (kat. 28., Cyklámen)

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Study

Irodalom

Az erdélyi magyar képzőművészeti kiállítás katalógusa. Nemzeti Szalon, Budapest, 1939.

E. Szabó Ilona: Fülöp Antal Andor. Kriterion, Bukarest, 1979.

 

A különös sárga tónusra hangolt, rajzos karakterű csendélet az erdélyi art deco ritka kincsei közé tartozik. A terítőkkel letakart asztalon jól szerkesztett rendben sorakoznak a tárgyak: geometrikus formákká egyszerűsített gyümölcsök, konyakosüveg, porcelán teáscsésze kanállal, erdélyi bokály három szál ciklámennel és egy cikkcakkosan dekorált art deco cukortartó. A jól komponált, finom színharmóniára épített csendélet mögött külön életet él a fal: a plasztikus ecsetvonások kirajzolják a tárgyak vetett árnyékát. De annál is többet: bal oldalon egy láthatatlan Van Gogh-féle szék lenyomatát vehetjük ki, körben pedig a sarkainál ékekkel kifeszített vakráma körvonalát, ami művészetfilozófiai kérdéseket is felvet. Az itthon kevéssé ismert erdélyi art deco kiváló képviselője, Fülöp Antal Andor feltehetően ezt a bravúros alkotás mutatta be a Nemzeti Szalon 1939-es kiállításán Cyklámen címen.

A kolozsvári születésű Fülöp a húszas években tanult a helyi Szépművészeti Iskolában, de közben megfordult nyaranta Nagybányán is. 1929–30 között a római Accademia della Belle Arti rendkívüli hallgatójaként megismerkedett az itáliai újklasszicizmus esztétikai világával. Rendszeresen felbukkant a Szolnay Sándor és Szervátiusz Jenő által vezetett, pezsgő kolozsvári szellemi kört alkotó Minerva szabadiskolában. Rajzos vonalvezetésű, szobrászian modellált, art deco hatásról árulkodó csendéletei a harmincas években előbb erdélyi, romániai, majd budapesti tárlatokon is felbukkannak. Jó szemű pályatársa és barátja, Tasso Marchini festményeit egy levelében a trecento alkotásaihoz hasonlította: „Van valami primitívség, valami meseszerűség, amely különösen a figurális dolgokat teszi bájossá. Van valami női báj, és ilyenkor eszembe juttatja az olasz primitívek közül Simone Martinit.” Fülöpöt fél szeme műtermi analitikus művészetre kényszerítette, egész életében Kolozsvárott dolgozott, mikrokörnyezetére fókuszáló festészete Czimra Gyuláéval rokon, pályaívének következetes kibomlása viszont inkább Czene Béláéval párhuzamos. Az 1960–70-es években is a két világháború közötti art deco korszellemhez hibátlanul igazodó korai művészetének vonalát folytatta, számtalan sikeres kiállításon szerepelve Kolozsvárott.

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