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Lajos Gulacsy

Hungary (1882 -  1932 )
GULACSY Lajos  Fool Of The Village

May 26, 2017
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Artworks in Arcadja

Some works of Lajos Gulacsy

Extracted between 99 works in the catalog of Arcadja
Lajos Gulacsy -  Fool Of The Village

Lajos Gulacsy - Fool Of The Village

Original 1903
Starting price:

Price: Not disclosed
Lot number: 201
Description: signed lower left: Gulácsy, signed lower right on the frame: Cogito ergo sum Descartes Dimensions: 74x54,5 cm Artist or Maker: Lajos Gulácsy Medium: oil on canvas Provenance: Earlier in the collection of Zsigmond Horváth, later of Milán Füst and his wife, Erzsébet Helfer, later was owned by Milán Füst Translation Foundation 201: Fool of the Village, 1903
Lajos Gulacsy - Ború És Derű

Lajos Gulacsy - Ború És Derű

Original 1902


Net Price
Lot number: 74
Tétel 74: Gulácsy Lajos (1882-1932): Ború és derű (Borús táj),1902 k.
Olaj, vászon, 52 x 67,5 cmJ.j.l.: Gulácsy Vakkereten művészetiketten: Gulácsy Lajos VIII.Rigó utca 14. "Ború és derű" és kiállítási raglapok Kiállítva:Nemzeti Szalon 25. vidéki kiállítása, Temesvár, 1906. szept. 30. -okt. 7., (kat. 126. Borús táj) Gulácsy Lajos emlékkiállítás,Rippl-Rónai Múzeum, Kaposvár, 2006. máj. 26. - júl. 2. (kat.15.)
Lajos Gulacsy - Lady In Hat

Lajos Gulacsy - Lady In Hat

Original 1906

Price: Not disclosed
Net Price
Lot number: 156
Oil, board
Signed lower left and upper right: Gulácsy 906
Hungarian National Gallery's attest number: 1784/977
Exhibited: - Collected works of Lajos Gulácsy. Studio of DénesRónai photographer, March 1912. - Exhibition of the Saint GeorgeGuild's XIXth auction, June 1914. (755. Reading woman)
Provenance: - Once in the collection of Zoltán Badiny, later in thepossession of the Holesch family
Lajos Gulacsy - Lady In White Dress, Around 1910

Lajos Gulacsy - Lady In White Dress, Around 1910

Original 1910

Price: Not disclosed
Net Price
Lot number: 24
Pencil on paper
signed lower right: Gulácsy L.
Attest number of the Hungarian National Gallery: 595 / 1978
Exhibited: Painted dreams. Ernst Museum, Budapest, 14th March-25thApril 2004. Sogni di pinti. Accademia d’Ungheria, Rome, 18thJanuary-18th February 2005.
Exhibited at the 48th auction of BÁV, May 1979., lot nr. 99.
Lajos Gulacsy - It Is Snowing In Nakonxipan(one -day Snow), About 1910

Lajos Gulacsy - It Is Snowing In Nakonxipan(one -day Snow), About 1910

Original 1910

Price: Not disclosed
Lot number: 30
signed, on the bottom left corner: Gulácsy, signed, on the bottom
right corner: Padova
On the stretcher there are exhibition labels and the painter's
notice: " Gulácsy L. Rigo utca 14. "Egynapos ho" olajf. 300
It used to be a piece of Imre Oltványi-Ártinger's collection.
Fiatalok kiállítása.(Exhibition of the Youth.) Nemzeti Szalon
(National Salon), April, 1916.
Tamás Gallery, Exhibition XLIX. January, 1933.
Uj Romantika.( New Romanticism.) Tamás Gallery, February-March,
Gulácsy Lajos és Lieb Ervin hagyatéki kiállítása.(The Exhibition of
Lajos Gulácsy and Ervin Lieb's Legacy.) Nemzeti Szalon (National
Gallery), October, 1936.
Gulácsy Lajos Emlékkiállítás. ( Gulácsy Retrospective Exhibition.)
Székesfehérvár, István Király Múzeum, 1966.
Twentieth Century Hungarian Art. The Arts Council of Great Britain
at the Royal Institute Galleries, London, May, 1967.
Magyar Muvészet, 1933. p. 68.
Szabadi, Judit: Gulácsy Lajos. Budapest, 1969. Pic.11.
Hungarian Review, August, 1970. p.14.
Tükör, 30, January,1977. p.24.
Szabadi, Judit: Gulácsy Lajos. Budapest, 1983.
Gulácsy, Lajos: A virágünnep vége. Budapest, 1989. (pict.IX.)
Szabadi, Judit: Gulácsy Lajos. Budapest, 1983.
Gulácsy, Lajos: A virágünnep vége. Budapest, 1989. (pict.IX.)
Szíj, Béla: Gulácsy Lajos. Budapest, 1983.
The exceptionality of Gulácsy's art first was recognised by the
then contemporary representatives of Hungarian literature. Among
others, Kosztolányi and Gyula Juhász, Artúr Keleti and Sándor
Weöres drew inspiration from the lyrical, bizarre world of
Gulácsy's pictures. The writers were rambling in the poetic world
and among the strange figures of the pictures with more enthusiasm
than the critics; their wanders were transformed into poems and
stories several times. Gulácsy's works were not born from a clear
picturesque experience; they came from the depth of his conscious.
The inner experience did not only take the form of a picture but
also that of a short story. The picture presented here is an
excellent example to show how writing and painting, text and
visuality dovetails in Gulácsy's oeuvre. As Kosztolányi wrote about
the artist, 'The poet took the brush out of the painter's hand.
And, more often, the poet handed it over to the painter, so that he
could paint.'
It is not a good way to approach Gulácsy's pictures through the
objects of the represented world or by the mechanical unstitch of
the symbols. His art, which got inspiration from inner visions can
only be revealed with the help of his individual point of view. His
world is not represented by symbols borrowed from the history of
culture ; the macrocosms is blossoming out in his intimate,
individual existence by a multiple refraction of light. Examining
the picture presented here Gulácsy's characteristic, autonomous
universe is exposed. The scenes, the characters, the transient,
vague forms, the quality of the forming of the surface are all
individual initials which are very essential from the point of view
of the interpretation. However, the picture is vivid and
captivating even if one does not know anything about the novelistic
elements of the picture and about the history of Gulácsy's world of
conscious. It is informing the viewers about the depth where there
is the root of every human. This projection of dreams, unconscious
visions, hallucinations and imaginings are familiar to everybody;
they are the common treasure of the collective unconscious.
Cafés played an important role in Gulácsy's life. It was a place
where he could draw inspiration; the café as scene appeared several
times in his pictures. The friends' literary portraits of him were
usually sketched in this scenery as well. The artist's daydreaming
spirit found this place, which was out of time and space,
instinctively. The European carrier of the café became inseparable
from the history of European art of the era. From the 18th century
the institution of the café could not be separable from the myth of
citizenry. While wine became the symbol of a peaceful life in the
countryside, coffee represented the ceaselessness and bustle of the
city. The visitors of a café did not hide from the world; they were
sitting in huge shop-windows, they were contemplating the world
from perfectly visible interiors. On the other hand, there was
another aspect which was perhaps more important for Gulácsy;
namely, that in a café the guests could take off their social
status and could enter into a place where the hated rules of the
outer world were not valid. This feeling appears in several poems
of the period, where the café is represented as a ship which has
its own rules and laws and where the passengers can forget about
the burden of their lives and the passing of time.
The particular format of the picture, the unsubstantial bodies, the
snowdrops and the pattern of the curtain all suggest the feeling of
streaming and floating; this is a projection of an easily flying
dream. By the chosen point of view, the painter is able to 'pull'
the viewer into the intimate space of the picture. The oval onyx
tables, the water-bottle with the glasses, the bentwood chairs
which became the symbol of the era and the elegant guest wearing a
bow tie, contemplating in his silent loneliness are all well-known
characters of this inner, timeless world. Over the glass walls a
fantastic, attractive world of wonders turns up. The first snow is
always a beautiful experience; it evokes the light-hearted world of
childhood. This is a magic that transubstantiates everything: the
noise is softened, the tired grayness is away. In Gulácsy's picture
the oranges are dangling like Christmas decorations; the sovereign
vision creates a new order instead of the well-known rhythm of the
seasons. The transgression of the laws of the real world is a
returning element in Gulácsy's art. As he wrote: 'Sacred is the lie
which is without an interest.'
His choice of topic, which is independent of the world of
experiences in several elements, is accompanied by a characteristic
forming. The mistakes made in the drawing and the autonomous
distortion are applied consciously; they lift out the
representation from the real and material, and put it into the
dimension of dreams and free illusions. The painter refused the
mechanic recreation of touchable forms, puts floating, whirling
stains of colors onto the canvas and loosens the surface by small
lines and dots. He writes somewhere that some parts of the picture
are not elaborated or seem to be distorted, but this is the most
valuable feature of a painting. He cites Giotto and Giorgione, who
also applied this 'negligence' in their works.
Not like other pictures by Gulácsy, the painting presented here
survived the last hundred years in a very good condition. The
surfaces of the picture perfectly illustrates the painter's special
method of creation. The floating, distorted forms were shaped not
only by the brush but also by his fingers and the stem of the
It is inevitable that the painting presented here is a masterpiece;
perhaps the most lovable and capturing work of the oeuvre. The fact
that it is a piece from one of the greatest Hungarian collectors'
collection makes the painting even more valuable. The picture has
remained the family's property until the present day; for the first
time after seven decades, the audience has got the possibility to
buy it at the present auction of the Kieselbach Gallery.
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