János Mattis Teutsch

Estate of the artist

Original canvas. Ultra-violet light reveals small minor cosmetic spots of retouching, including one spot towards the centre of the upper edge, two spots along the lower edge and some very small scattered spots along the left edge. The work is otherwise in good condition and ready to hang. Presented in a narrow black floating frame.
"In response to your inquiry, we are pleased to provide you with a general report of the condition of the property described above. Since we are not professional conservators or restorers, we urge you to consult with a restorer or conservator of your choice who will be better able to provide a detailed, professional report. Prospective buyers should inspect each lot to satisfy themselves as to condition and must understand that any statement made by Sotheby's is merely a subjective, qualified opinion. Prospective buyers should also refer to any Important Notices regarding this sale, which are printed in the Sale Catalogue.
NOTWITHSTANDING THIS REPORT OR ANY DISCUSSIONS CONCERNING A LOT, ALL LOTS ARE OFFERED AND SOLD AS IS" IN ACCORDANCE WITH THE CONDITIONS OF BUSINESS PRINTED IN THE SALE CATALOGUE."

Painted circa 1928.

Although Herwarth Walden’s landmark exhibition of post-impressionist art was an important and formative experience for the artist (it arrived in Budapest in 1913 and showcased over forty paintings including works by Kandinsky, Marc and Delaunay), Mattis-Teutsch had been developing his personal style from the outset. By 1919 his abstract colour planes, referred to as érzetek (sensation) had reached full maturity (see lot 12).

Gradually, the artist’s whirls and curvy shapes became simplified towards more linear forms which, from the mid 20s assumed the connotations of human figures as in the present work. Standing tall and fierce, overlooking what looks like a modern city just outlined in the background, are two dark figures. Everything in this picture conveys a sense of monumentality, almost solemnity. It was in these years that the artist published his own Kunstideologie (1931) and got close to the socialist theories such as the importance of the self realisation of mankind through physical and spiritual creativity, of which his powerful standing figures are surely a testimony.

Born in the Transylvanian city of Brașov, Janos Mattis-Teutsch was an important figure in the development of eastern European modern art. His first studies were in Brașov and Budapest, where he mainly trained in sculpture and printmaking. Between 1902-05 he studied at the Royal Bavarian Academy in Munich and later travelled to Paris, only to return to his country in 1908 where he spent most of his life thereafter.