Abigail /May 16, 2011
Artworks in Arcadja33
Some works of Karoly FerenczyExtracted between 33 works in the catalog of Arcadja
Auction: Lempertz -May 21, 2016 - CologneLot number: 1564
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Description: Signed lower right: Ferenczy K.Károly Ferenczy began studying art at the academy in Naples in 1885 and continued his training, after a short stay in Munich, at the Académie Julian in Paris under Tony Robert-Fleury and Adolphe William Bouguereau from 1887-89. There he made the acquaintance of the painters István Csók and Béla Iványi-Grünwald.From 1889-1893 Ferenczy lived with his wife, the painter Olga Fialka, in Szentendre in northern Hungary, where he befriended Simon Hollósy and István Réti. He was a member, and later a teacher, at the artist's colony in Nagybánya (Baia Mare/Romania). Following a successful exhibition in Budapest in 1906, he was given a position at the pattern painting school in Budapest (predecessor of the college of fine arts), after which he only spent the summer months in Nagybánya. In 1907, Ferenczy became a founding member of the MIÉNK (Magyar Impresszionisták és Naturalisták Köre), or Hungarian Association of Impressionists and Naturalists. His work has been honoured with numerous prizes and he is considered the father of Hungarian Impressionism. Notes: VAT: Margin scheme Provenance: Private ownership, North Germany. Dimensions: 47.5 x 68 cm Artist or Maker: Károly Ferenczy Medium: Oil on card
Auction: Sotheby's -Nov 12, 2014 - LondonLot number: 15
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Károly Ferenczy 1862 - 1917 HUNGARIAN SEA signed Ferenczy K. upper right oil on canvas 70 by 98.5cm., 27½ by 38¾in. Read Condition Report Read Condition Report Register or Log-in to view condition report Saleroom Notice Provenance Jozsef Lukacs Szegedi, Budapest (probably acquired from the artist); thence by descent to the present owner Exhibited Budapest, Mücsarnok, Karoly Ferenczy Memorial Exhibition, 1922, no. 15 Literature Istvan Genthon, Ferenczy Karoly, Budapest, 1963, no. 169 Istvan Genthon, Ferenczy Karoly, Budapest, 1979, no. 178 Judit Boros & Edit Plesznivy (ed.), The Retrospective Exhibition of Károly Ferenczy (1862 -1917), exh. cat., Hungarian National Gallery, Budapest, 2011, no. 190, pp. 224 & 333, illustrated; p. 358, catalogued Painted in 1904 in Lussingrande on Lussin Island (Lošinj), Croatia. Generally considered the father of modern Hungarian art, Ferenczy, together with Rippl-Ronai is the most important Hungarian Impressionist and Post-Impressionist painter. Born in Szentendre, Ferenczy founded the Nagybánya artists' colony in 1896 after having completed his studies in Munich and Paris, and became one of its leading figures. Whilst he was a fairly prolific painter most of Ferenczy’’s important works are in museum collections in Hungary, and it is extremely rare to be able to offer a major work by the artist on the international art market. In the eighteenth and nineteenth century Lussin , a small island in the Adriatic Sea in the Gulf of Quarnero, together with the adjacent islands of Veglia and Cherso formed an administrative district in the Austrian dominion of Istria. Lussingrande, in the south east of the island, became a popular winter resort in the nineteenth century due to its mild climate, and it is likely that Ferenczy visited the island as a tourist. Lussin island is formed predominantly of chalk limestone and dolomite rocks and Lussingrande sits on a rocky outcrop above the sea. The distinctive rocks of its coastline are masterfully depicted by Ferenczy in the lower left corner of Sea in sculptural swirls of rich impasto. However, most of this poetic composition is devoted to capturing the beautiful, intense blue of the Adriatic sea surrounding the island, and the clear blue sky. The horizontal lines of rich blue bands of sky and sea give the painting an almost abstract quality. Ferenczy painted only a few pure landscapes and only two sea views, including the present work, are known in his oeuvre. Sea was purchased in 1922 by Jozsef Lukacs, a prominent Hungarian financier, collector and patron of the arts, who lived in Budapest at the turn of the century, and has remained with his descendants ever since. Lukacs and his family were friends and supporters of the Hungarian artists association The Group of Eight. Lukacs' son had written the passionate manifesto 'The Roads divided' in defence of the 1909 art exhibition of The Group of Eight, and his daughter Mici was a close friend of Deszö Czigány. Lukacs' collection included works by fellow Hungarians Robert Bereny, Jozsef Nemes Lamperth, Deszö Czigány, Jozsef Rippl-Ronai, and Karoly Kernstok. After Lukacs' death, his widow donated his seminal painting Lonely Rider by Kernstok to the National Gallery, Budapest.
Auction: Kieselbach -Apr 19, 2002 - BudapestLot number: 70
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Not signed Exhibition label on the reverse from 1911 Reproduced: István Genthon: Ferenczy Károly, Budapest, 1979, pict.121. Károly Ferenczy's Birds'Singing is said to be the first modern Hungarian painting. Though it was painted three years before the foundation of the Nagybánya-school, it was taken as a 'real' Nagybánya-paining and the master was invited to the school by the enthusiastic young painters. Though Ferenczy was reckoned to be a naturalist by his contemporaries flirting with avantgarde, the painter did not care about isms and labels. He wanted to find his own way; it must have been the reason for his denying his early pictures that were too similar to that of Bastien-Lepage's works, whose pictures inspired his painting at that time. In 1906 Ferenczy - to Szinyei Merse's invitation - became the teacher of the School of Art, from which later the Academy of Art was founded. He also was the leader of the Circle of Hungarian Impressionists and Naturalists that represented the progressive painters' interests. In the 'shadows' of the portraits, Biblical compositions and landscapes, for which the painter became famous, Ferenczy painted several still lifes as well. Most of them were painted in his studio in Budapest. The Parrots is known in two versions. The main 'figures' of the picture are two parrots and a pigeon, made of china; the two pictures can be differentiated by the situation of the parrots. The background of both pictures are draperies arranged in a picturesque way. It makes the pictures akin to his later nude compositions. It is well-known that Ferenczy was dealing a lot with the relationship of the 'theme' and the 'workmanship' of the picture. In one of his letters he wrote about a work of him the theme of which was not really elevated but 'it can get a kind of magic by its workmanship'. The same magic can be felt in the picture presented here. Ferenczy, as a real colorist, painted the parrots by stains of colors, which is so characteristic of him. The Netherlandish artists, whom he liked very much, also painted still lifes with parrots. The parrot has a symbolic meaning in Christian symbolics: it stands for the followers who should repeat the apostles prays that praise God just like a parrot repeats human words. It is not likely that Ferenczy had any moralizing intention when painting the picture; he must have been enchanted by the vivid colors, the exoticism of the china birds.