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Czene János Apátfalvi (1904 - 1984) Original signed oil painting (80x60cm)
About the Item
Czene Janos Apatfalvi (Hungary 1904 - 1984 )
Signature: "Czene Janos" lower right corner
Period: Mid-1950s
Artwork: 80 x 60cm (31 1/2 x 24 IN.)
Offered unframed
Condition: Overall Excellent. No chips, flaking, or missing material +++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++
He was born on October 24, 1904 in Budapest (Újpest). After completing his secondary school studies, he enrolled at the Hungarian Royal Academy of Fine Arts. His teachers there were Gyula Rudnay, Károly Lyka, Zsigmond Kisfaludi Strobl, and István Csók. His first exhibition was in 1926. Subsequently, he participated in about 60-70 exhibitions for 25 years. He had 8 large solo collection exhibitions. Some examples: in 1930 in the Ernst Museum, in 1938 in the Studio, in 1939 in the Kunsthalle, in 1941 in the Art Friend. He also participated in the exhibition of the Venice Biennale in 1938. Partly in recognition of his success in Italy, he received a scholarship from Budapest Cathedral in 1938-1939. Thus, he was able to work for a year at the Hungarian Institute in Rome (Collegium Hungaricum). During his stay there he made study trips to Florence, Naples and Venice. For his work, he was awarded the diploma of honor of the "Szinyei Society" in 1930. His political and artistic convictions prevented him from joining the official art life of post-1945 Hungary (e.g. Socreal painting, or the overly inflated abstract and non-figurative trends of the 1970s and 1980s), so practically until his death he was ignored by Hungarian public life. To be fair, he was not alone in this fate. The careers of several of his well-known colleagues were cut in two at the time. He sold his works mainly abroad. He died on November 23, 1984. After his death, his paintings were exhibited several times in exhibitions dealing with the history of the "Roman School" in Hungary. A significant part of his works can be found in private collections and museums at home and abroad. A few years ago, the Hungarian National Gallery bought his painting entitled "Picnic", which was included in the core material of the so-called "New Hungarian Gallery". The most important characteristic of his art is the realist-veristic approach. Tough precise drawing and clarity of contours characterize his pictures. Nevertheless, the rich colors also play an important role in his works. He too was captivated by the great artistic current of the first decades of the twentieth century, the " New Classicism " (novecento). During his stay in Italy, this effect became even more pronounced. In addition to the " Roman " formal language, his master Rudnay also had a great influence on his artistic development. This is how his paintings, painted even in Rome, became peculiarly "Hungarian flavor": the intellectual influence of Rudnay and Italy accompanied him until the end of his life.
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PLEASE NOTE: To maintain the integrity of these valuable pieces this lot will be shipped fully insured, professionally boxed, and offered with a trackable shipping freight worldwide which is already included in the freight cost presented for your location. 100% satisfaction guaranteed or your money back.
Photographs in this listing are image quotations from the work that is offered for sale. © Copyright holder.
#AntoineBlanchard #FrenchMasters #Parisscene #MarcChagall #Originalfineart #Frenchpainting #midcenturymodernpaintings #Vintagepainting #VintageFrench #ArtOilpainting #Originalpainting #Wallart #Midcenturymodern
- Dimensions:Height: 23.63 in (60 cm)Width: 31.5 in (80 cm)Depth: 0.79 in (2 cm)
- Materials and Techniques:
- Place of Origin:
- Period:
- Date of Manufacture:1955
- Condition:Refinished. Border relining professionally done (wax method), deep clean (varnish removed) with a new fresh Damar on it.
- Seller Location:Firenze, IT
- Reference Number:1stDibs: LU7486238369952
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Feel free to message me if you wanna see even more details and other frames of it. Provenance - Mezzana archive Last ownership (Monti Family - Milano) bought in 1953 Original title and production year (1931) received directly from his grandson which after attested his originality, send me a picture of a antique previous "study" regarding a left couple of "Georgiche" (or Contadine Aka: countrygirls) before this original painting were produced - SEE LAST PICTURE ^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^ Research and Sources The Sacred Heart of CM, in Christian Art , XI (1923), 6, pp. 161 s .; CM, in Revue moderne , 15 apr. 1925, pp. 13 s .; Il Glauco by C. M. , In Corriere d'Italia , 28 May 1927; The new chapel of the relics in S. Croce, in L'Osservatore Romano, 18th apr. 1930; M. Mirabella, The Virgil stamps , in Fiamma viva , XI (1931), pp. 229-235; P. Scarpa, The monumental crypt to the military chaplains in the church of S. Caterina in Magnanapoli , in Il Messaggero , 1st November. 1933; N. Pende, Art and Typological Science in the Sacred Heart of CM , in Roman Rassegna , IX (1937), pp. 31-35; MG Franci, The Vatican issues of the war years , in the philatelic yearbook , Rome 1945, pp. 29-34; E. Diena, Parla CM, the artist of our stamps , in Italy philatelic , IV (1946), 22-23, pp. 245-251; Est-ce vraiment possible ?, in L'Observateur de Genève , XX (1951), 1, p. 6; Artisan candidates in Rome. C. M. , In Italian Craftsmanship , V (1952), 9, p. 4; E. Amadei, Memory of CM The man and the artist , in Il Quotidiano , 24 w. 1952; L. Palermo, Philately. Memory of CM , in Il Giornale , Oct. 17. 1952; R. Michetti, E. Martire and C. M., Rome 1953, pp. 11-15; CM Exhibition postuma (catal.), Rome 1953 (with extensive bibliography); R. Michetti, C. M. , In Faith and Art , 1953, n. 4, pp. 107-114; Vice, C. M. , In Il Giornale d'Italia , 12 April 1953; F. Zeri, Italian stamps ... , History of Italian art , IX, 1, Torino 1980, pp. 315-318; O. Orsini, The stamp in history and art , Rome 1981, pp. 117, 142, 144, 147, 150; F. Filanci - L. Mezzana Zilli, The art of the stamp: CM , Bologna 1990; H. Waga, Known and Unknown Life of the Virtues at the Pantheon, Rome 1992, pp. 51, 80; P. Mezzana, The Popes in the stamps of C. M. , In Il Dialogo , II (2005), 4, p. 18. ^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^ Buy with confidence. Your experience is really important to me. Please note: To maintain the integrity of these valuable pieces this lot will be shipped fully insured, professionally boxed, and offered with a traceable shipping freight worldwide WHICH is already included in the freight cost presented for your location. 100% satisfaction guaranteed or your money back Have a look for more original art pieces in my shop. Photographs in this listing are image quotations from the work that is offered for sale. © Copyright holder. ^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^ BIO He was born in Rome on 7 June 1890 by Giuseppe, an official of the Post Office, and Rosa Morelli. In 1906, at the same time as his high school studies, he attended the studio of the landscape painter P. Joris. The training then continued at the free school of the nude at the Institute of Fine Arts (1908-10) and at the University of Rome, where he graduated in jurisprudence in 1912 with the thesis Legislation of Fine Arts and Antiquities published the following year in Rome. Starting from 1906, the first charcoal portraits are also documented ( CM , 1953, p.11) and from 1911 the works with a social subject such as Port unloaders ( ibid. , Table 1). In 1914 Mezzana got in touch with G. Giovannoni and F. Hermanin, through which he developed a keen interest in architecture. In the same year he participated with naked Man in the painting competition of the Regia Accademia di S. Luca (Rome, Accademia di S. Luca, inv. 957) and obtained the qualification to teach drawing in technical schools and artistic institutes. Moreover, he exhibited the oil painting Rinascita at the exhibition of the Society of amateurs and lovers of fine arts in Rome, which saw him annually present until 1928 with the Consecration of Chinese bishops (1927, reprinted in CM ... , 1983, pl. 9). In the same period, in tune with the widespread taste in the capital of those years, Mezzana matured a predilection for the crepuscular atmospheres ( Dante al Monastero del Corvo , 1914, Rome, Mezzana collection), represented with a connatural sentimental vein and a spelling dry and sharp. In 1915 he was invited to the San Francisco International Exposition, where he presented the Antoninian Baths and began to teach drawing in the Michelangelo Buonarroti circle and in the ornamental arts school of the Municipality of Rome. During the war period Mezzana suspended the activity of scholar and artist to devote himself to the organization of the military hospital De Merode of Rome (1916-17) and was then an artillery officer (1917-18). In 1919 he married Albertina Giorelli, with whom he had six children, and began working as a production designer in the production company Tespi film in Rome (1919-22). In 1922 he created the first framework of social engagement, Glauco (1922; Rome, Mezzana collection), with a clear symbolist imprint, in the wake of the masonry works of A. De Carolis and A. Calcagnodoro. 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