His paintings in this period often feature surrealistic dream-like imagery, reminiscent of compositions by Marc Chagall. Incorporating and often synthesising stylistic elements of Cubism, Futurism, Constructivism, Neo-Primitivism and German Expressionism, Kádár’s decorative and metaphysical subject matter was often based upon traditional Hungarian folklore, and his subject-matter became increasingly narrative. His expressionistic, graphic works were gradually replaced by paintings that were more romantic and delicate in nature. Over the course of his time living in Berlin, Kádár’s style changed. Today he is one of the most famous members of the early twentieth-century Hungarian avant-garde. In 1910, the artist won the Kohner prize, and the same year he was awarded his first solo exhibition at the Hungarian National Gallery. Only when he visited Berlin and Paris and being exposed to the avant-garde art of the time, did Kádár direct his attention to painting once again. After leaving the Academy, he worked at a mural painting company. In 1902, Kádár attended the Academy of Fine Arts in Budapest. Following his father’s death, he was forced to start working from an early age after only six years to primary schooling and was apprenticed as an iron-turner. His last work, the gloom of which brings Kirchner to mind, was called “Farewell”.The Hungarian artist Béla Kádár was born in Budapest in 1877 to a working-class Jewish family. Mowed down alongside two hundred-thousand anonymous others. A few weeks later he was dead, killed in action. The trenches were dug and August was posted to the French province of Champagne. As if by compulsion, they committed group suicide. Sub-consciously the empires that protected them agreed. The artists of the Western World had called for the destruction of the old world. What could have been?Ī year after The Milliner’s Shop he was drafted into the German Army. Macke painted the above in a few short years. Hokusai wrote that none of the drawings he did before his 70th birthday were worth considering. Painting is one of those arts where the best get better as they age. Whereas his contemporaries moved toward abstaction inevitably as the pure expression of the self, the psyche, he never lost the habit of observation: Who knows how this young man would have developed thru the 1920s as the modern style began to attract larger markets and more attention. Macke radically broke away from the past. Picasso and Braque had already wrenched apart any resemblence to the classical tradition. His hands are solid, meaty.īy the following year The Blue Rider had formed. It reminds me a little of Picasso’s blue period. The style is that of all the young artists of this generation who were doing as the proto-modernists did. The year he met Fraz Marc he painted this: What made Macke different is that he refused to go as far as that, he never turned away from what the Old Masters had called ‘Nature’. Not surprisingly they rejected naturalistic depiction and any obligation to the world as it’s commonly seen, turning instead inward. And in Germany, in Spain, in France, Russia, Italy and Beligium there was pandamonium.Įxpressionist pandamoium indulged in colour, convinced that true art was child-like. Van Gogh, Gaugin and Cezanne had thrown a plague of molotov cocktails its way. But, for this period, Macke’s my favourite.ĭuring the preceding century the Romantics, the Impressionists and the Symbolists had pried the urge to express the music of the soul in colour away from Academic rigidity. And Kandinsky is the only true capital ‘G’ genius of the crew. Their work was, however, more refined, less confrontantional then that of their earlier counter-parts. Like them they’d seen Cezanne and plugged into a different view of Beauty and Truth.Ī ‘Blue Rider’ evokes at once intense colour and this forward movement. Like Die Brücke (The Bridge) the artists of The Blue Rider had seen the Impressionists and decided that the classical style was dead. But the Expressionists were the first unabashed emotional egotists. Artists had long expressed the view that the emotional content of their work was in the colour. This was the second of the two groups who together made Germany’s contribution to Modernism. When he was 23 he met Franz Marc and together with Vassily Kandinsky (and others who rate on the C-list or below) he formed Der Blaue Reiter – The Blue Rider. He was born at the dawn of Modernism, 1887. In the annals 20th Century Art History he’s B-list significant.
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