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Vilmos Perlrott-Csaba

(1880 -  1955 )
PERLROTT-CSABA Vilmos Candle-lighting

Kieselbach /Apr 19, 2002
9,081.25
Not disclosed

Find artworks, auction results, sale prices and pictures of Vilmos Perlrott-Csaba at auctions worldwide.
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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
187

Some works of Vilmos Perlrott-Csaba

Extracted between 187 works in the catalog of Arcadja
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.
Vilmos Perlrott-Csaba - Still Life With Apple And Nude

Vilmos Perlrott-Csaba - Still Life With Apple And Nude

Original
Estimate:

Price: Not disclosed
Lot number: 30
Other WORKS AT AUCTION
Description:
signed upper left Perlrott Csaba V. 912
In the 1910s, at the time of the Kecskemét period of the painter,
beautiful still-life pieces were born on Vilmos Perlrott Csaba's
canvases. He drew inspiration from his attraction to the vivid,
unmixed colours and from Cézanne's art and art theory. The motifs
themselves are constructive; some apples, a couple of simply-formed
dishes, drapery, plant, clock, statue. The depth of the classically
calm compositions, the plastical strength of the objects are
strengthened by massive picture construction. On these compositions
the different elements were depicted on the same value. He managed
to work the miracle in the "Cézanne-ian" sense: the apple is a
living body, and a colour surface at the same time. When the
richness of the colours is the highest, the form gets the most
complete.
In the case of this still life, all the general characteristics of
Perlrott's art in the 1910's are summarised masterly. As a result
of the perfect consonance of the forms and colours, the composition
is ruled by unity.
The motifs of the paintings by Perlrott Csaba are formed after the
Nature, but they are transformed into pure painting. This art makes
the viewer amazed, while solves important artistic problems on the
same canvas.
The closest analogy of this still life can be seen in the permanent
collection of the Hungarian National Gallery.
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