Mára a novemberi fagy megérkezett. A kertben a barna levelek az utolsó lélegzetükben sóhajtoznak, ahogy a földre kúsznak. A madáretető körül a tolongás borítékolható. A fagy harapja az orrunkat a meleg sapkák és kesztyűk izgatottan használatra jelentkeznek… (Kerepes, Hungary – Németh György fotó)
Rupert Charles Wulsten Bunny (Australian, 1864-1947) – Sunbath (Oil on canvas) – – In 1895, Bunny met his future wife Jeanne Morel while she was a fellow art student. She became the subject of many paintings, which from around this time increasingly depicted groupings of languid, dreamy female figures. Such works suggest the influence of the British pre-Raphaelite painters particularly the idealised, angelic women of John Everett Millais and Dante Gabriel Rossetti.
Felix Nussbaum (German-Jewish, 1904-1944) – Painter and Model, c.1938 (Oil on plywood. Kulturgeschichtliche Museum Osnabrück) – – In 1934 Nussbaum took Felka Platek, a painter whom he had met while studying in Berlin and would later marry during their exile in Brussels in 1937, to meet his parents in Switzerland. Felix and Felka would spend the next ten years in exile, mostly in Belgium, a period of emotional and artistic isolation for him but also one of the most artistically productive in his life.
Edgar Degas (French, 1834-1917) – Dancers Bending Down (also known as The Ballerinas), 1885 (Pastel) – – Like many of the Impressionists, Degas was significantly influenced by Japanese prints, which suggested novel approaches to composition. The prints had bold linear designs, as with this work, and a sense of flatness that was very different from the traditional Western picture with its perspective view of the world.
Edward Hopper (American, 1882-1967) – Hotel Lobby, 1943 (Oil on canvas. Indianapolis Museum of Art) – – Three guests and an eerily illuminated desk clerk occupy this disquieting interior. They each look in a different direction, sharing space yet mentally detached. The lighting, rug, and architectural elements in this carefully constructed setting emphasize a sense of individual separation. Hopper often depicted ordinary scenes that evoke urban loneliness. The choice of a hotel lobby reflects his attraction to places of transience, escape, and anonymity.
Sergei Arsenevich Vinogradov (Russian, 1869-1938) – Lady in an Interior, 1924 (Oil on canvas) – – Although the subject faces away, her figure, haircut and her shoes suggest that she is Vinogradov’s wife, Irina Kazimirovna Voitsekhovskaya. High ceilings and large windows create a beautiful interplay of light and shade and a sense of space which is so successfully conveyed by the artist in green and golden tones. The delicate pink of the model’s dress balances his chosen palette perfectly.
Október végi napsütés – Ma az októberi lágy napfény az egész kertet sütkérezésre ingerlő meleg fénnyel borította be… (Fotó: Németh György – Kerepes, Hungary)