Aurel Bernath

(18951982 ) - Artworks
BERNATH Aurel Mooring With Gulls

Kieselbach /Dec 14, 2007
79,054.38
Not disclosed

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Variants on Artist's name :

Bernath Aurél

 

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Georg Macco, Albert Friedrich Schroder, Edouard Leon Cortes, Pierre Carrier-Belleuse, John Ii Varley, Hugo Darnaut, Jacques Francois Carabain
Artworks in Arcadja
117

Some works of Aurel Bernath

Extracted between 117 works in the catalog of Arcadja
Aurel Bernath - A Duna Gödnél

Aurel Bernath - A Duna Gödnél

Original 1970
Estimate:

Price: Not disclosed
Lot number: 133
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Description:
Tétel 133: Bernáth Aurél (1895-1982): A Duna Gödnél, 1970 k. Pasztell, papír, 58 x 41 cm J.j.l.: BA Kiállítva: „Variációk egy témára” Bernáth Aurél kertjei, Budapest, Arte Galéria, 2006. dec. 4. – 2007. jan. 19. (kat. 15.) Életmű kat. sz.: 1970 k./5
Aurel Bernath - Kilátás Gödnél

Aurel Bernath - Kilátás Gödnél

Original
Estimate:

Price: Not disclosed
Lot number: 14
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Description:
Tétel 14: Bernáth Aurél (1895-1982): Kilátás Gödnél papír, akvarell 42,7 x 59,8 cm jelzés lent jobbra: BA életműkatalógusszám: 1975 k./8. kikiáltási ár: 350 000 HUF aukció időpontja: 2011.07.16. szombat 20:00 CEST aukció helyszíne: Vaszary Villa (8230 Balatonfüred, Honvéd u. 30)
Aurel Bernath - Ábrahámhegyi Pirostetős Házak

Aurel Bernath - Ábrahámhegyi Pirostetős Házak

Original 1954
Estimate:

Price:

Net Price
Lot number: 21
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Description:
21. Bernáth Aurél : Ábrahámhegyi pirostetős házak, 1954 Bernáth Aurél Marcali, 1895-Budapest, 1982. Akvarell, papír, 28 x 37 cm. J.b.l.: BA felirat lent balra: 1954/6 Proveniencia: Lerner János fotóművész tulajdonából életműkatalógus szám: 1954/6. Kikiáltási ár: 300.000 Ft. Vételi megbízás / Bidding slip Az adatok tájékoztató jellegűek!
Aurel Bernath - Mooring With Gulls

Aurel Bernath - Mooring With Gulls

Original 1931
Estimate:

Price: Not disclosed
Lot number: 27
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Description:
Signed lower right: BA Reproduced:Modern Hungarian Painting 1919-1964, ed.KieselbachTamás, Budapest, 2004. Provenance:Alexander E. von Saher (Amsterdam), C.P. van der Feltz(Amsterdam), Geman private property from 1973 BIBLIOGRAPHY: Rózsa Gyula: Töredékek. Mozgó Világ (magazine), April 2006. Barki Gergely: Berény Róbert, az "apprenti fauve". In: Magyar VadakPárizstól Nagybányáig 1904-1914. Magyar Nemzeti Galéria, Budapest,2006, p. 227. Barki, Gergely: Róbert Berény, the "Apprenti fauve". In: HungarianFauves from Paris to Nagybánya 1904-1914. Hungarian NationalGallery, Budapest, 2006, p. 159. REPRODUCED: Barki Gergely: Berény Róbert, az "apprenti fauve". In: Magyar VadakPárizstól Nagybányáig 1904-1914. Magyar Nemzeti Galéria, Budapest,2006, p. 227. Barki, Gergely: Róbert Berény, the "Apprenti fauve". In: HungarianFauves from Paris to Nagybánya 1904-1914. Hungarian NationalGallery, Budapest, 2006, p. 159. EXHIBITED: - Salon des Indépendants (Société des Artistes Indépendants), 23emeExposition. Grandes Serres del'Alma et des Invalides, auCours-la-Reine. Párizs, 20 March - 30. April 1907 (Lot Number 365 in the exhibition catalogue with the title Naturemorte, 4th item among the artworks of Berény, number 4 on the backrefers to this) - (Presumably exhibited) A Nyolcak második kiállítása (the Eights'second exhibition), Budapest, Nemzeti Szalon, 1911. April 29. - May16. - Avantgárd a gangon . Kieselbach Galéria, Budapest, 2006. március8. - március 14. - Képzőművészeti ritkaságok. Festmények, rajzok Horváth Béla(1930-1995) gyűjteményéből. Városi Művészeti Múzeum, Győr, 2006.March 18. - 2006. May 31. - Magyar Vadak Párizstól Nagybányáig 1904-1914. Magyar NemzetiGaléria, Budapest, 2006. August (It is not present among theexhibited artworks in the catalogue of the exhibition, it arrivedat the exhibition in August 2006) Berény the apprenti fauve - the "wild genious" on the turn of1906-1907 It seems that the Kieselbach Gallery attracts as magnet the worksthrough which a totally unknown early Berény ouvre is outlined. Inthe last one and a half years three Berény paintings have been upfor auction only from the yield of year 1906, which would have beenpublished as a whole page reproduction in a two volumes giantentreprise of the owner of the Gallery, if they had been foundearlier. After this, they cannot be missing from the summaries ofmodern Hungarian painting. In the last 5 years 7 Berény fauvepaintings have been up for auction, among them three have beenintroduced for the first time in the Salon des Indépendantsorganised in Paris in 1907 and 1908. Through the appearance ofthese works, we have got close to be able to reconstuct the wholerole of the painter in exhibitions in Paris. This time a painting changes hands again which debuted in Parisexactly 100 years ago. The Salon de Indépendants, the Independents'Salon of 1907, is of great importance also in the history offauvisme. Louis Vauxcelles, journalist, godfather of the company ofMatisse, Derain, Vlaminck, Dufy used the expression fauve for thefirst time as a group name already consciously in this exhibition.The exhibition criticism of Vauxcelles published in Gil Blasenumerates the artists he considered as the representatives of thenew tendency. The journalist who altered variedly the fauvenomenclature enumerates two Hungarian among the members of thegroup: Béla Czóbel entitled as fauve inculte, uneducated fauve andBerény entitled apprenti fauve, apprentice. Presumably he meant hisyoung age by this, as Berény had just completed his 20th year whenhe sent six of his paintings -among them the Still life up forauction now- to the Independents. The contemporary Hungarian press also reported on the success ofBerény. The reporter of Pesti Napló wrote: "Among the Hungarian,Róbert Berény painted a very good portrait of Bertalan Pór, two ofhis landscapes is of Monaco, but the colours and the whole feelingis Hungarian, his combing woman interesting in character andcomprehension." The writer of the article did not mention theStill-life, though the attribute 'Hungarian-like' can be appliedfor this painting as well, we know that a still-life was present inthe exhibition catalogue under the name of Berény, and we can beassured that this is the same as the artwork in question. Theautograpic caption on the back of the painting refers to this, aswe can meet similar ones on two other identifiable paintings of theexhibition, on the Pór portrait from 1907 and on the Woman in RedGown, also from 1907 and on the Nude of an Italian Girl sent forthe Salon of Independents' one year later and the composition BallPlayers. The numbering painted on the back side by Berény is alwaysanalogue with the numbers of the catalogue. The painter certifiedhis works sent in with his signo on the back side of his works andthe French titles appearing here were published in thecatalogues. The exhibition of the Independents' producing regular disturbancesattracted the curious people, thus the artists as well. Many of theHungarian painters who did not exhibit there, also visited theexhibition primarily for being informed about new tendencies.István Csók who was working in Paris that time, who took note ofthe paintings of the young painter was among them. In his letteraddressed to Lajos Fülep -perhaps being driven by a bit ofjealousy- addressed Berény as a fade copier of Cézanne and Valloton(sic!). It is relevant in his ironic remark that he mentionedCézanne who was considered an ideal that time by only a few people.Before 1906, Matisse was practically the only one who discoveredthe guiding legacy of the just deceased master from Aix. The Still-life of Berény is also from 1906, as it can be seen fromthe inscription. It was painted when he was 19. Related to Berény,this year is remembered with great respect and laudation for a biggenious. Dezső Orbán lamented after even long decades that he wasso impressed by the superior talent of Berény that he neverrecovered from his feeling of inferiority caused by him. In anarticle published in an Australian magazine he dedicated a separatechapter for detailing that Berény took him to the meetings ofGertrude Stein, where he can get acquainted with the mostprogressive artists of the era, Matisse, Picasso etc. GyörgyBölöni, the critic managing the later Eights got acquainted withBerény in Paris also in 1906 in the art studio house under No 9,rue Campagne Premiére, as his neighbour. Half a century later heremembered: "On the ground floor of the art studio house workedRóbert Berény in an atelier. He was the youngest. He had a brightintelligence loving to philosophize and thinking on mathematicalproblems and technical innovations. This passion has been shown inthe construction of his paintings as well.". Max Weber, laterapprentice of Matisse, the most relevant pioneer of Americanmodernism lived in this house. He wrote about Berény as follows:"An attraction for a lifetime and the precious memory of RóbertBerény have been planted in me in the spring of 1906. For his 20years he gave the impression of maturity and he understood suchesthetical principles which were supposed to be understood by aperson much older than him. His speech was enjoyable andentertaining, dogmatic, purely expert-like and interesting andhumorous the same time. He understood and highly respected Cézanneand Touluose-Lautrec and the primitives. He liked music and pickingup his violin in the most unexpected moments he improvised with anOriental passion with a sound flowing widely with soft resonance.His own compositions or the notes of the classics were always onhis table. He avoided the pain of privation and renouncement. Helived comfortably and ususally dressed well. His parents were richand cared for him. He got money and food in regular intervals fromhome, Budapest. He usually shared these on the occasion ofcelabrations organised in his art studio with his Hungarian friendswho were less lucky. I was always welcomed." That was the year that brought the most diversified results in thelife of the young Berény. Almost every painting of 1906 isconsidered important from the Self-portrait with Straw Hat to theWoman Lying on the Sofa. Each painting is a search for a newdirection which was apparently immediately abandoned when taking anew canvas, however these works are final declarations whichemerged with such a determinance and self confidence under hisbrilliantly directed brush. The Hungarian Cézanne? In 1911, when a real Berény retrospective with 49 of his paintingscould be seen in the exhibition of the Eights, György Bölöniexclaimed in the Aurora cultural magazine: There is a serious,conscious, sensitive conaisseur of Cézanne, a Hungarian conaisseur.The early date of Still-life makes the brilliant performance ofBerény even more astonishing. The 19 years old painter was not onlyan "up to date" artist even compared with Matisse or Derain, but ina certain measure he even go beyond them. Starting off fromCézanne, contrary to them he made his way elsewhere, a bit similarto Picasso, but even ahead of him, he looked for the essence ofplasticity of forms. It can already be perceived on Still-life thathe is interested in such space problems on the resolution of whichhe will be working until the beginning of the thirties. He tried toemphasize the construction in its appearance in a totally uniqueway, with a rich scale of varied painter and technical elements.Similarly to Cézanne, he uses interruption, but the polemy ofcompleteness/incompleteness does not turn up, these stains leftempty turn out to be exciting, decorative pauses, silence sectionsreflecting his musical culture, without which the composition isnot whole and homogenous. The superlatives here are appropriate,this is not the arbitrariness of the monograph writer. I take thearticle of Gyula Rózsa of last year as an evidence, where thevirtues of the artwork in question is detailed lenghtily: "Berény,the then and after diabolically impatient, talentedly impatientRóbert Berény paints his Still-life in 1906 that every novelty thathe saw in Paris can be read of it. The view from above of the fruitbowl is of Cézanne, the apples massed heavy and hitted plastic aswell, but the Hungarian-like embroidery, performed savoury of thesmall table cloth is so loudly, obliviously red and green and bluethat even Matisse could not paint more free then, in that year. Thetable cloth, the plastically majestic white table cloth withserious pleats and shadows also had guidance from the master ofAix, but the painting is homogenously, happily and victoriouslybold, almost perfect." Yes, Berény is primarily was nourished by Cézanne, but went his ownway bravely, we cannot talk about plagiarism. In Paris, he becomethe former of a new direction on an equal rank with the pioneers ofthe French modernism. One of his closest friends, fellow artist,Anna Lesznai saw the situation of Berény in the right way: "It ismy personal feeling, though you know Pista (István, Varró,sociologist), how I love Hungary, that Róbert would reach longer ifhe would have been born in Paris." "Bakony" on a table of Paris Though Berény cannot be named as a typical Hungarian painter,especially in this period, it cannot be left aside related to ourartwork in question a very emphasized motive, the Hungarian-likeembroidered table cloth placed on the table of the Parisien atelierand the pillows in the background reminding of Transsylvania.Decorative embroideries, bed cloths, pillows, table clothsremarkably often emerge in the artworks of Berény painted around1905-1907, but their Hungarian character never dominates, becausethey are not Hungarian embroideries or this feature is notstriking. Berény exhibited a whole collection of embroideries inthe exhibition of the Eights in 1912 a few years later, but themotives of the handcrafts designed by him is absolutely differentfrom the treasure of motives of the Hungarian popular art. Thevisualising of embrioderies, handcrafts similar to the thosepresent on Still-life often occurs in case of their contemporarieswhen presenting the world of contemporary bourgeois enterieurs forexemple to stay within the circle of the fauves- in case of BélaCzóbel, Sándor Ziffer, or István Csók, who furnished his Parisienart studio with popular art objects. It is charateristic that Csókbesides many similar themed canvas painted his canvas entitled Boxwith Tulips (1910, Hungarian National Gallery) in Paris, related towhich he once noticed that he does not need Matisse as a source ofinspiration, as he has the box with tulips within reach. In case of the Still-life by Berény the choice of motives is notaccidental because the emphasizing of Hungarian character in hiscase is rather unusual. Róbert Berény belonged to the generation ofpainters orienting in Paris, who got to know the poetry of Ady inthe French capital that year. The thought of "Paris is my Bakony"characterizes accurately the ars poetica of Berény. Berény wasfamiliar with the folklore activity of Béla Bartók from home,Budapest and it shows their close friendship that three years laterthey spent Christmas Eve together. But in case of Berény we cannottalk about folklore romanticism. In summary the choice of motive ofStill-life and the method of expression in my reading is aself-portrait-like 'firm as a rock' declaration: because he placesthe hardly gravitating apples on the embroidered table cloth, theHungarian canvas he states that he is the Hungarian Cézanne, unCézanne d'Orient. The career of Still-life Only some of us could see the artwork hidden for a long time evenfrom the closest professional circles, before it was exhibitedagain in the exhibition last year entitled Avantgarde on theoutside corridor in the exhibition organised in Gallery Kieselbach.The exhibition presenting the collection of Béla Horváth movedafterwords to Győr, where the poster inviting visitors -recognisingthe relevance of the artwork- was decorated with the Still- life ofBerény. Last year we reproduced for the first time the Still-lifeof Berény of 1906 in the catalogue of the Exhibition the Hungarianfauves organised in the Hungarian National Gallery, but the workdid not get a catalogue number. Three of Berény's identifiedpaintings from the Salon des Indépendents of 1907 arrived in thebeginning of August, this way they were together almost for a monthin the exhibition with prolonged opening hours. I hope that the newowner of the Still-life will borrow proudly his new acquision forthe Fauves Hongrois tour to be organised at three French sites, asour French co-curators elected this work to be exhibited. I alsohope that till then other three not yet identified Berény paintingsexhibited in 1907 will be found. Perhaps -continuing the tendency-right here, on the auctions of the Kieselbach Gallery.
Aurel Bernath - Ice Skating In Buda

Aurel Bernath - Ice Skating In Buda

Original
Estimate:

Price:

Gross Price
Lot number: 87
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Description:
AURÉL BERNÁTH (1895-1982) - ICE SKATING IN BUDA - PROPERTY FROM A PRIVATE COLLECTION, GREAT BRITAIN
Mis: 73 by 94cm., 28¾ by 37in.
signed with monogram l.r. mixed media on paper

PROVENANCE
Acquired from the artist by the father-in-law of the present owner; thence by descent
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