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 - JUDIT BOROS: The Synthesizer. Vilmos Perlrott Csaba's Painting

Cat. No. 201. Vilmos Perlrott Csaba: Nudes Outdoors (Eden), cca. 1907-1909 Vilmos Perlrott Csaba: Nude Boy, cca. 1907-1909. Cat. No. 202. the verge of abstraction. It was in this milieu, one that was extremely copies of ancient statues, too. The different recollections vary as to the rich in stimulating artistic influences, that the students of the Matisse precise list of sculptures, but several authors mentioned the plaster academy developed the complex vocabulary of forms of their Avant- copy of the Belvedere Apollo, while another one recalled the copy of Although not mentioned among the founders in later recollections,

33 B.C.

34 From time to time Matisse suspended the use of live models enPerlrott was probably present at the Couvent des Oiseaux from the tirely. He made every effort to ensure that his students clearly undervery beginning. Certain elementstaken from Matisse's paintings began stood the anatomy of the human body, the relative body proportions to appear in his canvases already in 1907, prior to the foundation of and the weight-bearing role of the joints. He encouraged his students the school. We can find these elements in his composition entitled to pay prime attention to the overall expressive power of the artwork School of Painters (Cat. No. 200). Although the school he depicted (painting, drawing or sculpture). He maintained that the logical conwas not Matisse's academy, in the composition he emulated the style struction of forms and colours constituted one of the indispensable of Matisse's figurai painting in 1907. The works he produced after the preconditions for this expressive power. Initially he corrected his stuopening of the school already showed some marked anti-Naturalist dents' works once a week, but from the second year (1909) onwards tendencies, both when they represented landscapes and when they he increased the rate to two occasions per week. In the last year of the depicted nudes arranged against either a landscape surrounding or an school's existence he only taught sculpture. All this exerted a deep iminterior. It is a well-known fact that, in addition to the studying of live pression on his students, who were able to discover their master's models in set poses, Matisse wanted his students to study the plaster views even in more details after 1908, when Matisse published his garde compositions. a statue of Mars from the Louvre, as well as a plaster copy of a life-size Greek sculpture representing a male figure, made in the 5

th century