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יום חמישי, 12.9.19 (הזמן המקומי שלך)
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 חיים לבנון 18, נווה איתמר, נתניה
להשתתפות במכירה -  כניסה  /  הרשמה

פריט 40:

Janos Thorma (הונגריה, 1870-1937) - זוג, שמן על בד.

נמכר ב: $3,000
הערכה:
$ 6,000 - $12,000
עמלת בית המכירות: 18%
מע"מ: על העמלה בלבד

Janos Thorma (הונגריה, 1870-1937) - זוג, שמן על בד.

חתום.

ממוסגר.

50x70ס"מ.

מסגרת: 64x84ס"מ.


Janos Thorma (1870-1937) was a Hungarian painter. A representative figure of the Nagybanya artists colony, which started in 1896, in Nagybanya, Austro-Hungary (today Baia Mare, Romania), He moved through different styles, shifted from the naturalism that was the aesthetic of the colony, to historical subjects, to romantic realism and to a Post-Impressionism style. His work is held by the Hungarian National Gallery, the Thorma Janos Muzeum, regional museums and private collectors.

In 1966, the Hungarian National Gallery held a major commemorative exhibition, The Art of Nagybanya, commemorating the innovations of Thorma and fellow artists. In February 2013, it opens a major retrospective of more than 100 pieces of Janos Thorma's work, drawing from numerous institutions and private collectors in Europe.

Janos Thorma was born in 1870 in Kiskunhalas, Austro-Hungary to Bela Thorma, a tax agency cashier, and his wife Gizella Fekete. The family moved to Agybanya when the youth was 14. He began to study art at Bertalan Szekely's drawing school. At the age of 18, he went to Munich, where he studied from 1888 to 1890 under the Hungarian painter, Simon Hollosy, who held free classes. Following a path similar to other young artists from Austro-Hungary, in 1891 and 1893–95, Thorma also went to Paris, where he studied at the Academie Julian.

His first significant painting, Szenvedok (The Bereaved), was exhibited at the Budapest Art Gallery, then at the Paris Salon in 1894. In 1896, on the occasion of the millennium of the Magyars' conquest of Pannonia, he presented his painting about The 13 Martyrs of Arad, Aradi vertanuk (The Martyrs of Arad), which gained him nationwide renown in Hungary. Many of his early works were large canvases on historical themes.

In 1896 he was one of the founders of the Nagybanya artists colony, whose members included Simon Hollosy, Karoly Ferenczy, and Istvan Reti, who achieved international recognition. From 1902-27, he was a teacher at the Nagybanya Painters' Association, becoming its president in 1917.

In 1898 Thorma began to paint Talpra magyar! (Rise up, Hungarian!), on which he worked intermittently almost to his death.

His first paintings were naturalistic, and an early inspiration was Jules Bastien-Lepage. Thorma used the artist's most popular work, the Portrait of Sarah Bernhardt, in 1892 as a model in his own painting of Iren Biltz. Thorma's painting had the characteristic atmosphere of Art Nouveau.

As a young man, Thorma felt that naturalism offered him too little to achieve his goals as a painter, and he was inspired by German romanticism (as shown in his The Bereaved, 1892) and French classicism (The Martyrs of Arad, 1893–94). In 1897, following a long trip to Western Europe, Thorma painted several Biblical subjects, including Bekesseg veletek – "Pax vobiscum", which show the influence of Rembrandt.

After 1900, Thorma's work turned toward realism: Kocsisok kozott (Among the Coachmen) (1902); Oktober elsejen (On the First of October) (1903); Kartyazok (The Card-Players, 1904). In 1906-07 he showed influence from Spanish sources in his Ciganyutca (The Gypsies Street, 1907). He also was inspired by the French painter, Paul Gauguin, as shown in Husveti kenyerszenteles (The Blessing of the Bread) and Templombamenok (People Going toward Church), both circa 1910.

After 1920 Thorma developed his own en plein air style, based on his substantial knowledge of painting. He used certain elements of neo-classicism in such works as Tavasz (Spring, 1920) and Furdes utan (After Bathing, 1928). In the last decade of his life, he painted impressionistic landscapes and portraits.

In 1918 he took his historical works to Hungary, as he expected Romania to be invaded at the end of World War I. He stored them in Debrecen.

After the Treaty of Trianon, when the Nagybanya region was incorporated to the Kingdom of Romania, only Thorma remained in the town; the other Hungarian painters left. The government encouraged him to continue the naturalistic "official Nagybanya school," although his own work had developed in quite different ways.

In September 1929, Thorma, aged 59 and until then a bachelor, married Margit Kiss, a painting disciple and distant relative. He died in Baia Mare eight years later.

Since the late twentieth century, and the opening of the Eastern Bloc, there has been renewed attention given to the innovations of the Naybanya artists. In collaboration with other institutions, the Hungarian National Gallery has organized a major retrospective of Thorma's work, consisting of more than 100 pieces. Its title classifies him as a representative painter of the Barbizon school in Hungary. The exhibit opens in February 2013, through the collaboration of the "Art Museum in Nagybanya, the Janus Pannonius Museum in Pecs, the Mora Ferenc Museum in Szeged, the Deri Museum in Debrecen, the Herman Otto Museum in Miskolc, the Katona Jozsef Museum in Kecskemet, and the Thorma Janos Museum in Kiskunhalas, as well as Hungarian, German and Romanian private collectors.

מקור: Wikipedia.




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