DOI Heft:
No. 393 (December 1925)
DOI Artikel:[Studio-talk]
DOI Seite / Zitierlink:https://doi.org/10.11588/diglit.21403#0393
BUDAPEST
BUDAPEST.—Aurele Naray is an
isolated figure in Hungarian art. Son
of a poet who for some time enjoyed con-
siderable fame, but ended his life in
obscurity and misery, he was forced to
pursue his development without the aid
of masters or of regular attendance at
schools of art. A timid and very sensitive
nature, not made to put up a strong re-
sistance to the hard blows of life, he very
soon retired into himself, and, assisted
by his natural gifts—an extremely fine
sensitiveness and a rich (though somewhat
morbid) imagination—he built up his
kingdom of dreams. For Naray is a
dreamer, a lyrical poet of form and colour
who, while fixing the aspect of reality m
his mind, clothes it in conformity to his
ideals, in his own forms and colours. In
all his work he tries to lessen the roughness
of reality and to beautify it. As a painter
he especially affects subtle greyish-blue
tones, and he has a peculiar knowledge and
mastery of these tones in all their shades.
Sometimes he makes use of vigorous
touches of white, to make certain forms
stand out better and accentuate their
plasticity. In this, as in his way of circum-
scribing his figures with brush strokes full
of moving lines, some have found an
affinity between him and Munkacsy. Born
in 1883, Naray is in the full vigour of his
maturity. A sympathetic student of the
Bible, he finds therein a world which
closely resembles that of his imagination.
He began by illustrating the life and
sufferings of Christ, and from this time
date several pictures which are most mov-
ing in their expressiveness and their fine
and rich nuances of colour and tone.
Though very little known in his own
country, he spent a short time in America
some years ago, and there, at Philadelphia,
he met with most conspicuous success and
appreciation, a 0 a 0 a
A. E.
BUDAPEST.—Aurele Naray is an
isolated figure in Hungarian art. Son
of a poet who for some time enjoyed con-
siderable fame, but ended his life in
obscurity and misery, he was forced to
pursue his development without the aid
of masters or of regular attendance at
schools of art. A timid and very sensitive
nature, not made to put up a strong re-
sistance to the hard blows of life, he very
soon retired into himself, and, assisted
by his natural gifts—an extremely fine
sensitiveness and a rich (though somewhat
morbid) imagination—he built up his
kingdom of dreams. For Naray is a
dreamer, a lyrical poet of form and colour
who, while fixing the aspect of reality m
his mind, clothes it in conformity to his
ideals, in his own forms and colours. In
all his work he tries to lessen the roughness
of reality and to beautify it. As a painter
he especially affects subtle greyish-blue
tones, and he has a peculiar knowledge and
mastery of these tones in all their shades.
Sometimes he makes use of vigorous
touches of white, to make certain forms
stand out better and accentuate their
plasticity. In this, as in his way of circum-
scribing his figures with brush strokes full
of moving lines, some have found an
affinity between him and Munkacsy. Born
in 1883, Naray is in the full vigour of his
maturity. A sympathetic student of the
Bible, he finds therein a world which
closely resembles that of his imagination.
He began by illustrating the life and
sufferings of Christ, and from this time
date several pictures which are most mov-
ing in their expressiveness and their fine
and rich nuances of colour and tone.
Though very little known in his own
country, he spent a short time in America
some years ago, and there, at Philadelphia,
he met with most conspicuous success and
appreciation, a 0 a 0 a
A. E.