Vilmos Perlrott-Csaba

(18801955 ) - Artworks
PERLROTT-CSABA Vilmos Models

Kieselbach /Sep 11, 2002
14,367.63
Not disclosed

Find artworks, auction results, sale prices and pictures of Vilmos Perlrott-Csaba at auctions worldwide.
Go to the complete price list of works Follow the artist with our email alert
Along with Vilmos Perlrott-Csaba, our clients also searched for the following authors:
Jeno Barcsay, Endre Balint, István Kerny, Henry Brassai, John Albok, Béla Uitz, Andre Kertesz
Artworks in Arcadja
168

Some works of Vilmos Perlrott-Csaba

Extracted between 168 works in the catalog of Arcadja
Vilmos Perlrott-Csaba - Gyertyagyújtás

Vilmos Perlrott-Csaba - Gyertyagyújtás

Original
Estimate:

Price:

Lot number: 445
Other WORKS AT AUCTION
Description:
445 - Perlrott - Csaba Vilmos (Békéscsaba, 1880 - Budapest, 1955) Gyertyagyújtás olaj, vászon 106*76 cm j.n. Kieselbach 2002 tavaszi au. ápr. 19. 182. tétel; reprodukálva: Múlt és jövõ XXII. évf. 1932 ápr. 103 oldal Starting price: 2 500 000 Ft € 8 770
Vilmos Perlrott-Csaba - Külvárosi Részlet

Vilmos Perlrott-Csaba - Külvárosi Részlet

Original 1910
Estimate:

Price:

Net Price
Lot number: 10
Other WORKS AT AUCTION
Description:
Tétel 10: Perlrott-Csaba Vilmos (1880-1955): Külvárosi részlet, 1910 k. Olaj, vászon, 40,5 x 50,5 cm J.j.l.: Perlróth Csaba (ritka szignó) Hátoldalán kiállítási etikettek Kiállítva: Gráber Margit és Perlrott-Csaba kiállítás, Haas Galéria, Budapest, 2007. szeptember Szerepelt a BÁV 84. aukcióján, 241. tétel és a Blitz Galéria 10. (1997. okt.) aukcióján, 109. tétel Magyar Nemzeti Galéria bírálati száma: 9313
Vilmos Perlrott-Csaba - The Notre Dame In Paris

Vilmos Perlrott-Csaba - The Notre Dame In Paris

Original
Estimate:

Price: Not disclosed
Lot number: 24
Other WORKS AT AUCTION
Description:
Signed lower right Perlrott Csaba Literature: Lyka, Károly: Festészetünk a két világháború között Corvina Kiadó 1984 Perlrott, Csaba Vilmos muvészete Bornemisza Géza eloszavával Dante Kiadás 1929 Gráber, Margit: Emlékezések könyve Gondolat Kiadó 1991 Notre-Dame is the manifestation moulded in stone of the french mentality. It appears in the artist's painting partly as an individual theme and partly as an element of composition mainly in the rather fertile artistic period of 1925-1930.The well-balanced architecture of this building stands as the striking symbol of his artistic pursuit in the background or foreground of his paintings. Perlrott had a very close contact with Paris already in the first years of the 20th century in his period in Nagybánya. The vivid and inflamed art of Paris especially Matisse made a decisive change in his career. Beside the coulourful painting of the Fauves he discovered and became more familiar with the art of Cézanne. The cubistic sinking-in of his works feeds mainly on this influence. Until the outbreak of the 2. world war the artist had visited to the "capital of the painting" almost twenty times. The most favoured place of the examined period some time between1925-30 was the little room in the Hotel Notre-Dame, right apposite the cathedral. He painted the cathedral, the rolling Seine with her bridges from the window of his room. He made several versions of its motifs with oil and pastel. This theme was rather popular among the Hungarian artists working in the city- Czóbel, Béla, Diener, Dénes Rudolf, Kmetty, János, Gráber,Margit-too. By this time the revolution of art around Picasso and Braque had been over, however the atmosphere of the city was vibrating by the most various art schools( flows). The haunt of the artists was the Café Dom. Before dropping in they used to paint nudes in one of the art schools in return of a bit of money. Beside the property of paintings several grafics by Perlrott, Csaba Vilmos came down to us, the posterity. These ones of mainly high quality can be regarded as individual works. The cathedral being the symbol of the history of France and the city view of Paris has a more underlined stress in the evening light. Looking at the several motifs of Notre-Dame gives nearly the evidence of exictence of the eternal unchangeable, legitimate peace and order. This art is strict and serious. In the structure of the depicted city view in a way of keeping a distance typical of the artist the formes stand hard and strictly next to each other and in the area. Colours have a very significant role in each an every painting of the artist. He combines them showing an excellent taste in his individual creative work under the influence of the french lesson. It may be strange, but in this darkish view depicted in the evening ligths stands out a kind of total polychromy due to the use of the strong and dark colour scheme.
Vilmos Perlrott-Csaba - Models

Vilmos Perlrott-Csaba - Models

Original
Estimate:

Price: Not disclosed
Lot number: 97
Other WORKS AT AUCTION
Description:
no signature Literature: Elek, Artúr: Perlrott Csaba Vilmos, Nyugat, 1932/2 Bornemissza, Géza: Perlrott Csaba Vilmos muvészete. (The Art of Vilmos Csaba Perlrott.) Budapest, 1929. Sümegi, György: A "neós" és " neoklasszikus" Perlrott Csaba Vilmos. ( Vilmos Csaba Perlrott The "Neo" and "Neoclassical".)In.: Új Muvészet, 1998/9. Though Perlrott was not the member of the group Nyolcak (The Eight), he was an artist always experimenting and looking for new ways. He began painting only in his early 20s, and his first master, József Koszta, sent the talented young artist to Nagybánya, where a most important art school was working at that time. In 1905 Perlrott gained a scholarship to Paris, where he first studied at the Julien Academy, but he was not really satisfied with Paul Laurens's lessons. In 1906 he was invited to Leo Stein's salon, where he met Matisse, Picasso, Derain, Delauney and Bracque. Perlrott was fascinated by Matisse's art so much that he left the Academy and became the master's apprentice. Matisse must have liked the young Hungarian, as Perlrott was invited to Matisse's studio every week and learnt a lot from the master's lessons. Twenty years later Perlrott wrote about himself as one of the French master's favorite students. In 1907 seven of Perlrott's paintings were exhibited in the so-called 'Fauves-hall' at the Salon d'Automne, and he remained a regular participant of the exhibition in the following years as well. He also discovered Manet' s and Cezanne's art in the French capital; in the 1910s he spent more and more time with studying Cezanne's still-lifes and compositions with nudes. The picture under discussion also a work of an artist whose main interest is the problem of constructing the picture and who was strongly influenced by Cezanne's art. The French artist was also concerned with the arrangement of nudes into a triangular composition and their abstraction for a long time; his Big Bathers is a heroic example of this experiment. The motif in the center of Perlrott's picture is one which was often used by Cezanne as well. The left hand of the woman playing the guitar and the end of the instrument is melting into the body of the model. Cezanne stressed the unity of the bodies, their plainness and the lack of the spaces' depth by the same means in his picture mentioned above. The structure and the coloration of the picture tell the viewer not only about Cezanne's but also Picasso's and the Cubist artists' influence. Perlrott met Picasso and Braque, and exhibited his works together with Metzinger and Derain in 1909 in the Galerie Weill of Paris. The early, analytical phase of Cubism is evoked not only by the greenish-brownish colors but also by the motif of the guitar in the picture presented here. The guitar appeared several times in Braque's and Picasso's paintings; Picasso painted two pictures with women playing the mandolin, though they are more structural, more 'analytical' than Perlrott's models. Only the corporeality of the woman playing the guitar is disrupted by planes; the other figure, that composes the basis of the composition, is more natural. A similar duality can be observed in the representation of the studio, which serves as a background, and that of the small landscape. Though the painter disrupted the classical perspective, the structure of the space, and the motifs are still well recognizable.
Vilmos Perlrott-Csaba - Candle-lighting

Vilmos Perlrott-Csaba - Candle-lighting

Original 1932
Estimate:

Price: Not disclosed
Lot number: 182
Other WORKS AT AUCTION
Description:
Not signed Reproduced: Múlt és Jövo, XXII. April, 1932. p.103. Perlrott was one of the fourteen artists who made an exclusive art calendar in 1924. He made a picture representing praying Jews. The etching that can be found in the Hungarian National Gallery under the title Praying can be taken as a piece of this folder. The OMIKE (Cultural Association of Hungarian Jews) was founded in 1909 with the view of popularizing culture and strengthening confessional consciousness. It also took on social duties; from the subscriptions and foundation money the association helped schools and published cultural publications. In 1939 the members started the 'Action of Exiles', in which concerts, exhibitions and theater performances were held. In this way they were able to provide living to the artists in those hard times. The original meaning of the word 'Sabbath' is peace, calmness. The most beautiful moment of a celebration is the one between the excitement when one wants to arrange things perfectly and the beginning of the ceremony itself. All of us have memories like this; the picture presented here help us to call them back. In the painting the figure of the woman wearing a white shawl is shining from the silent dimness. It is sunset, the time of lighting the Saturday candles. It has been the task of women to light the candles since Sarah's time. This little act means the beginning of the celebration every week, it holds the family together. As the number of the candles shows, there are four members in the family. The little flames are burning for the dead as well, in this way they are always there, together with the family. The girl is sitting at the table; in some years she will light the candles somewhere. Now her task is laying the table and holding the candle at the celebration. The boy is standing in the background, holding a piece of white paper, the father might be still in the synagog. The picture is not about problems of form or representation, not a variation or capriccio; it is an intimate confession. The mother's face is represented most precisely: her closed eyes and opened arms tell us about an inner flame and unconscious devotion. She is protecting the light which is warming her hands. The message of the picture is concentrated in her figure; everything else is indispensable but a complement of her. The lack of a signature is harmonizing with the intimate, confessional mood of the picture: one never signs a diary.
Arcadja LogoProducts
Subscriptions
Advertising
Sponsored Auctions
Subscriptions

Who we are
Our Product
Follow Arcadja on Facebook
Follow Arcadja on Twitter
Follow Arcadja on Google+
Follow Arcadja on Pinterest
Follow Arcadja on Tumblr