Passuth Krisztina – Szücs György – Gosztonyi Ferenc szerk.: Hungarian Fauves from Paris to Nagybánya 1904–1914 (A Magyar Nemzeti Galéria kiadványai 2006/1)

HUNGARIAN FAUVES CASE STUDIES - GERGELY BARKI: The Evolution of Czóbel's Fauvism in the Mirror of his Early Portraits

16. Béla Czóbel: Man with a Straw Hat, cca. 1906. Cat. No. 112. not know these paintings. However, among the works he produced at Nagybánya we can already find some that already showed a distinctly Fauvist character (i.e. Painters Outdoors, Cat. No. 108). Other of his canvases from the same batch display a certain hesitation and careful "searching", and are more readily tied to Hungarian Art Nouveau and Rippl-Rónai's art,

42 to Post-Impressionism, while the newly discovered stylistic marks of Fauvism are less manifest. It was probably around this time that he completed the portrait of his brother-in-law, Dr. Béla Réh (Man Seated, Fig. 15, Cat. No. 105;, which was exhibited under the title Portrait d'homme assis at the following exhibition of the Salon d'Automne in Paris. The Long Run of Exhibitions: The Stages of Becoming a Fauve We can reconstruct Czóbel's participation at the 1906 Salon d'Automne only in a very fragmented manner. What we do know is that several of the works he had completed at the Nagybánya artists' colony during the summer were shown at the exhibition. In addition to the earlier-mentioned Man Seated, he exhibited a portrait, which Mimi Kratochwill identified with one of the most powerful portraits of Hungarian Fauvism, Man with a Straw Hat 43 (Fig. 16, Cat. No. 112). In light of the numerous contradictory pieces of information, however, we cannot accept this view. Dated from 1906, another one of his portraits went on display at the 1949 Hungarian exhibition at