Artportal.hu

PERLROTT, Csaba Vilmos Painter (Békéscsaba, 2nd February, 1880 – Budapest, 23rd January, 1955)  Perlrott was one of the great reformers of 20th Century Hungarian Painting. He was a witness, receiver and deliverer of the contemporary French and German art of the time. He synthesized the schools and styles he became acquainted with the attitude of the art community of Nagybánya. In 1904 he moved to Nagybánya and worked alongside Béla Grünwald Iványi. The climate and landscape surroundings were defining elements in his nature-based mode of depiction up until the end of his life. Perlrott traveled to Paris in 1905. He was one of the founders and followers of the school lead by Matisse. In 1907 he exhibited with the group the Fauve, in Salon d'Automne. His fondness towards the paintings of Gauguin and Cézanne may be linked to this period. (e.g.: Önarckép /Self-Portrait/, 1905; Kertrészlet vörös úttal /Garden segment, with red road/, 1907). Perlrott was one of the leading figures of the Neo-artists of Nagbánya (Fürdõzõ fiúk /Bathing Boys/; Nagybányai házak /Houses of Nagybánya/, around 1910). In 1911 he came under the influence of works El Greco, in Spain, after which he worked at the colony of artists in Kecskemét. He became famous with his still life compositions, images of cities, and nude compositions filled with baroque movements (Csendélet nõi szoborral /Still-life with female statue/, 1911; Kecskeméti részlet /Detail of Kecskemét/, 1913; Modellek /Models/, 1916). Between 1920 and 1923 he lived with wife, Margit Gráber, in Germany, where he came into contact with German expressionism (Werheim am Main), 1921). His graphic works, filled with biblical themes were composed of cubist elements (Levétel a keresztrõl /Deposition from the Cross/, 1922). He regularly painted in both Nagybánya and Paris until the beginning of the First World War. The bridges of the Seine and Notre-Dame were among his favorite motifs (Szajna három híddal /Seine with three bridges/, 1927; Párizsi részlet /Detail of Paris/, 1930). He was a regular member and permanent exhibitor of the Képzõmûvészek Új Társasága /New Society of Fine Artists/ from 1924. After 1930, simultaneously with his Szentendre based creative period, he returned to a naturalistic mode of portrayal (Szentendrei utca /Street in Szentendre/, 1935; A mûvésztelep kertje /The garden of the art colony/, 1950). In 1949 he was admitted to the Szentendrei Festõk Társasága /Society of the Painters of Szentendre/.