Barki Gergely - Gulyás Gábor: Újragondolt Czóbel. A szentendrei Czóbel Múzeum állandó kiállítása (Szentendre, 2016)

the representation of buildings that signalled a desire for constructive composition modes (Fig. 20-21), were soon followed by ones perfused by a joie de vivre, and as time went on, the pieces became more and more serene, their brushwork more and more relaxed. He no longer wanted to join the latest trends and groups; one of the many Ecole de Paris painters, he followed his own way, and was happy to take part in exhibitions in Paris, Milan and Budapest. In 1927 he had a solo display at New York’s Brummer Gallery.

In Hatvan, with the Hatvanys (1931-1939)

From the beginning of the 1930s until the outbreak of the Second World War, he spent his summers in the family mansion of an old friend, Ferenc Hatvany. The Hatvanys regularly entertained the social and intellectual elite of the period, playing host, among others, to Sándor Bródy, Attila József and Thomas Mann. Irén Hatvany, the lady of the house, was ready to serve her guests in all manner of functions: as an intellectual partner, as a muse, and as an attentive hostess. The landscapes, interiors and portraits Czóbel painted in the mansion, the manor of Kisgombos, or the Gypsy ghetto, testify to a liberated creative will and carefree circumstances (Fig. 31-33). In the 1930s he had one solo exhibition after another in the Bing, van Leer, Pauerau and Bonaparte galleries of Paris, and at Ernst Museum and the Frankel Szalon in Budapest. He also took part in a number of group exhibitions, including those of KUT, the New Society of Visual Artists.

47 I Harlekin | Harlequin 11969-70

46 I Azálea | Azalea 11974

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