Gyula, Jules Tornai

(18611928 ) - Artworks
TORNAI Gyula, Jules The Water-pipe Smoker

Palais Dorotheum /Apr 17, 2012
15,000.00 - 20,000.00
32,020.00

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Variants on Artist's name :

Tornai Gyula

 

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Artworks in Arcadja
139

Some works of Gyula, Jules Tornai

Extracted between 139 works in the catalog of Arcadja
Gyula, Jules Tornai - The Wife Of The Maharaja Of Burdwan

Gyula, Jules Tornai - The Wife Of The Maharaja Of Burdwan

Original
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Lot number: 261
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Description:
Lot Description Gyula Tornai (Hungarian, 1861-1928) The wife of the Maharaja of Burdwan signed 'TORNAI.GY.' (upper left) oil on canvas 28 x 17.3/8 in. (71 x 44 cm.) Lot Condition Report I confirm that I have read this Important Notice and agree to its terms. View Condition Report Exhibited Exhibited as the 'Wife of Maharaja of Burdwan' in the exhibition 'Japan and India', the Hungarian Museum of Fine Arts, Budapest, 1909.
Gyula, Jules Tornai - The Holy Cleansing Of The Samurai

Gyula, Jules Tornai - The Holy Cleansing Of The Samurai

Original
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Lot number: 134
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Gyula Tornai (Hungarian, 1861-1928) The holy cleansing of the Samurai signed 'Tornai GY' (lower right) oil on canvas 45 1/4 x 35in (115 x 84cm) Footnotes PROVENANCE: Private collection, Vienna, Austria EXHIBITED: Berlin, Kunstsalon Keller & Reiner, November 1907 Kunstausstellung fuer Kunst aller Art, no. 9006 Gyula Tornai was born in 1861 in a small town in Hungary known as Görgö. He began his artistic career seeking a formal education in the academies in Vienna, Munich and Budapest where he studied under prominent artists such as Hans Makart and Gyula Benczúr. Tornai's style was heavily influenced by Makart's aestheticism and tonality known as 'Makartstil' ("Makart's style" in German). His vibrantly colored and theatrical, large-scale paintings held a lasting effect on Tornai and are evident in the complex nature of many of his works. Tornai began his career painting numerous genre scenes, however after his travels to more exotic locales, his choice of subjects changed dramatically. His early visit to Tangier, Morocco in 1890-91, provided him with new motifs to explore. In 1900 he exhibited many of the works he completed while abroad at the Exposition Universelle in Paris. Their immense success provided Tornai with the financial ability to continue his explorations and provoked him to travel for an extended period of time through China, Japan and India. It was during his sixteen month sojourn to the Far East where Tornai was most heavily influenced and began to cultivate the style for which he is renowned today. In the course of his travels through Kyoto, Nikko, Nara, and Nagoya, Tornai's contact with the former Prime Minister of Japan, Count Okuma Shigenobu, was one of the most significant factors in the evolution of his style. He was commissioned to complete a portrait of the Marquess Taro Katsura, and the patronage introduced Tornai to the various aspects of Oriental life and to the vast traditions of the Buddhist and Shinto religions. Through Count Okuma, Tornai was able to access a side of the world typically concealed from Europeans. His fascination with the unfamiliar civilization resonates in his body of works that followed. The present work depicts a Samurai warrior in the act of 'Misogi', a customary Shinto cleansing ritual performed to purify the body and mind. The warrior has entered the shrine and disrobed. His traditional Lamellar armor and Katana sword lie beside him while he bows his head in devotion. Water trickles from above commencing from the three lentils of the temple's structure. The Samurai stands under one of the streams in a meditative state, as the water flows down his neck and body, purifying his soul. The canvas is a vividly colored and well-balanced composition, characteristic of the artist's style in which he completed his Far East works. The colorfully patterned kimono complements the flower blossoms and intricately designed lanterns and overall temple décor. The vast array of pigments brings the canvas to life and the textured application of paint adds another dimension to the image. The work illustrates Tornai's aptitude in creating complex and visually intriguing compositions. His skill in rendering the depth and perspective of the temple and its surroundings is an example of his adept understanding of spatial arrangement. This large scale work, accompanied by the original wood-carved, Japanese frame, is a principal example of Tornai's ability to successfully captivate the essence of the foreign world. Upon his return from his lengthy sojourn, Tornai compiled sixty similar large-scale oil paintings, as well as smaller studies. He exhibited this body of works throughout many European cities including London, Paris, Berlin, Hamburg, Leipzig and eventually Budapest. With the exhibition, Tornai gave the European viewers a coveted insight into the Far East world of Shinto and Samurai traditions, and allowed the public to see a side of this exotic life usually concealed from foreigners. Despite his dynamic palette and energetic brushstrokes, Tornai illustrated a scene of quiet meditation and worship and successfully captured the mysticism of Japanese tradition.
Gyula, Jules Tornai - The Alter, Basilica Di San Marco, Venice

Gyula, Jules Tornai - The Alter, Basilica Di San Marco, Venice

Original 1889
Estimate:

Price: Not disclosed
Lot number: 185
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Description:
Lot 185 Tornai, Gruyla (Hungarian, 1861-1928). Tornai, Gruyla (Hungarian, 1861-1928). THE ALTER, BASILICA DI SAN MARCO, VENICE. Oil on canvas being relined and restretched at a later date. Signed with initials and dated '1889 at Venezi.' Tornai has paintings in the National Gallery of Hungary and has sold at all major auction houses. Gilt frame. 27.2" x 18" — 70 x 46 cm. Estimate $5,000/6,000 Est: $5,000 / $6,000
Gyula, Jules Tornai - The Water-pipe Smoker

Gyula, Jules Tornai - The Water-pipe Smoker

Original 1903
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Gross Price
Lot number: 84
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Description:
Gyula Tornai (Görgö 1861–1928 Budapest) The Water-Pipe Smoker, signed, dated Tornai Gy. 1903, oil on panel, 58 x 34 cm, framed (behind glass), (Rei) Gyula Tornai Studied at the Academies in Vienna and Munich. He also travelled to India, Japan and Africa. He exhibited regularly in Paris, London and Hungary from 1904 onwards. Oriental motifs were his predominant subject matter. The Hungarian National Gallery houses several of his paintings. Specialist: Mag. Dimitra Reimüller
Gyula, Jules Tornai - A Japanese Princess Going To Church

Gyula, Jules Tornai - A Japanese Princess Going To Church

Original 1906
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Net Price
Lot number: 195
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Description:
Gyula Tornai (Hungarian, 1861-1928) A Japanese princess going to church signed and inscribed 'Tornai Gy. Tokio' (lower left) oil on canvas 96 1/2 x 52in (245 x 132cm) Painted circa 1906 EXHIBITED: Goupil Gallery, London, 1906; Emil Richter Kunstsalon, Dresden, November 1907; Keller und Reiner Kunstsalon, Berlin, November 1907; Galerie Georges Petit, Paris, January 1908; Leipzig, March - April, 1908; Galerie Bock, Hamburg, May 1908; 'Japan and India', Tornai solo exhibition, Budapest, October, 1909,no. 12. LITERATURE: Elet , 24 October 1909, p. 548; Budapest, Japan and India: Tornai Gyula , Mucsarnok, 1909,no. 12; Paur Geza, 'Tornai Exhibition on Japan and India,' VasarnapiUjsag , 10 October 1909, pp. 849-850; Kovacs Agnes: 'Dancing Geisha. About Tornai's Oriental Paintings', Artmagazin , 2008, vol. 2, pp. 56-64. Born in 1861 in Görgö, Gyula Tornai received his artistic educationat the academies in Vienna, Munich and in Benczur's studio inBudapest. He exhibited in London, Paris and in the Budapest ArtGallery in 1909 and in the National Salon in 1917. He began hiscareer painting the genre scenes that were so popular in the lastquarter of the 19th Century, but after his travels to India, China,Japan and Morocco his themes changed to depictions of the variedand exotic places and customs of those destinations. Tornai stayedin Tangier from 1890 to 1891 and in 1900 he exhibited pictures inthe Exposition Universelle in Paris to great acclaim. In 1904, Tornai offered a significant number of works from thesejourneys for sale in Budapest in order to finance an artisticadventure to India and Japan. The sale of the paintings was a greatsuccess and in the summer of 1905 the artist set off for the FarEast. He began his Japanese foray by painting a portrait of theformer Japanese prime-minister Count Okuma, and with thisinfluential patron, Tornai was allowed access to aspects ofJapanese life which were often hidden from Europeans at the timeand enabled the artist to delve deeply into the world of Buddhismand Shintoism. Over the next sixteen months, Tornai traveledthroughout the Land of the Rising Sun and visited Nara, Kyoto,Nikko and Nagoya. Upon his return from this two year journey which included a tour inIndia, the artist gathered together sixty large canvases andseveral studies and sent them on exhibition through several majorEuropean cities, including London, Paris, Hamburg, Dresden, Leipzigand finally Budapest in the autumn of 1909. In his own words,Tornai described this painting in the exhibition catalogue: 'Item12: Japanese princess going to church. Her servants stay outside inthe yard waiting for their lady, and prostrate themselves in prayerfor Buddha. The princess on the painting is the mikado's eldersister whose authority demanded even Europeans prostrate themselvesin respect a few years ago.' The painting depicts the elder sister of Mutsuhito, Emperor ofJapan from 1867 to 1912, accompanied by her servants as she entersa Buddhist shrine. Executed in the vivid colors so characteristicof the artist and painted on a heroic scale, A Japanese princessgoing to church is a tour-de-force of color andcomposition. The colorful kimonos of the ladies-in waiting as wellas their varied positions create an energy in the foreground of thepainting that is carried up the steps of the shrine to the figureof the princess, her head bowed in devotion. The swirling colors ofher richly-decorated kimono echo the curve of the staircase as wellas the ornamental carving of the doorway to the shrine. In thispainting, Tornai has given the viewer a glimpse into a worldtotally foreign to the European sensibility and despite the broadbrushstrokes and dynamism of composition the artist has created aworld of hushed devotion and reverence.
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