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

301 Tengerparti táj bárkákkal | Seaside Landscape with Boats 11930-as évek 11930s

significance for the group that was to call itself The Eight. Again, Czóbel acted only as a catalyst in Nyerges, and even presented what he painted there not in Hungary but in Paris. By this time many considered him one of the wildest of the Fauves, and several of the paintings he had made in Nyerges were rejected by the rigorous jury of the 1907 Salon d’Automne on the grounds of being "ultramodern.” The same year he presented 30 paintings, made mostly in Nyerges, and as many drawings, at the Galerie Berthe Weill in Paris. Most of these have since been lost, but even the remaining few outline what was probably Czóbel’s strongest period of an individual Fauvist-Primitivist idiom, developed in synchrony with international trends.

A distant supporter of Hungarian modernism (1907-1913)

Perhaps because Czóbel had already made a name for himself in Paris as a participant in the latest artistic trends, many in Hungary hoped he would be a key figure of the reinvention of the country’s art.

When it was formed in 1907, MIÉNK, the moderately modern Circle of Hungarian Impressionists and Naturalists elected him a founding member, thanks to Károly Kernstok’s backing. He sent works to several of MIÉNK’s exhibitions; on one occasion his "ultramodern” nude was found scandalous by the minister of culture, who had it removed.

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