Új Művészet, 1993 (4. évfolyam, 1-12. szám)

1993-03-01 / 3. szám

Interview repel, a klasszicizmus formanyelvére oly jellemző Paoli­­na Borghese (Canova szobra) és a Madame Récamier (David festménye) pedig még a szövegben sem. Az ol­vasó azonban — joggal — inkább a színes reproduk­ciók teljes mellőzését nehezményezi. (Hugh Honour: Klasszicizmus. Bp., 1991■ Corvina, 201 o. Pantheon­­ sorozat. Ford.: Várady Szabolcs) (folytatás az 54. oldalról) □ ÉLES CSABA A megfoghatóság és a megfoghatatlanság határán — Én csupán törekszem arra, hogy minél jobban meg­közelítsem ezt a fajta emberi tisztaságot. Szerintem csak az ilyen létezésnek van egyedül értelme, és ez a jó élet. Sokkal gazdagabbnak érzem magam azáltal, ha nem ke­rülnek közel hozzám a tárgyak, nem a szerzésvágy ve­zérel, hanem egyszerűen megélem a létezést. Tehát örü­lök annak, hogy élek, nap mint nap boldoggá tesz, hogy látok, csodálatos színeket látok. Nem templomjáró hit az enyém, de a hit az a fonál, amihez tartania kell ma­gát az embernek. Csak hittel érdemes élni, őszinte alá­zatosan. Ha ilyen módon közeledem a dolgokhoz, min­den megnyílik. Még az emberi viszonylatok is másképp alakulnak ezáltal. Szerintem az alázat a legfontosabb és a legszebb az életben. 1992. szeptember 1. Interview with the painter Tamás Kárpáti Nostalgic, mysterious, elusive, enigmatical, loneli­ness, humility, shyness, concealment, careful workman­ship, archaizing technique — these are the key words of the writings evaluating his pictures. Let us survey this art rewarded with the Munkácsy prize when the artist had resched the age of Christ; six years later a book appeared about him, and now he prepares his exhibition summing up his career of almost two decades. — At college my favourites were Watteau, Béla Gruber, and Gulácsy. Watteau fascinated me with his trees and bushes and the emotional swings and flutters vibrating among them which I felt to be identical with my own impressions of nature. The sadness radiating from his paintings corresponded to my state of mind at the time: I too hid myself in loneliness and a kind of soft, warm sorrow which filled me with great happiness. And the rococo and baroque world appealed to me. Béla Gruber exerted an inexpressible effect on me; I felt thet this was a painter who died of his painting just as Gulácsy who also succumbed to art. His pictures radi­ate great sadness which, in truth, is the essence of life. — What were your ideas of your career after gra­duation!1 — I counted on an early death. — Is this desire alive in all self-destructive youths? — Probably, especially in those who choose them­selves ideals like Watteau, Gulácsy or Gruber; neither of them had attained peaceful old age. — You seem to like only warm tints. Why? — I have tried to use also blues and other colours but something pulls me always back and like the pro­digal son, I always go back to the warmth. For me calm­ness, reassurance, „nest warmth” are extremely impor­tant. Sometimes I try to paint a large picture but I al­ways turn back to smaller sizes. Then 1 can squander again and return once more. I think our whole life is about this. If you listen permanently to baroque music, to Vivaldi, you wish to hear discord, and then it is so good to enter the world of harmony again. For me the cold colours signify dissonance. — Your pictures are timeless, they do not represent daily problems or momentary events, they express the general, the universally human. What are your major concerns? — I would like to transmit human contents which are like the present world. For example, something good can appear also in the guise of something bad, resp. its appearance must be authentic. This is why I paint often angels cutting the throats of lambs. Kárpáti Tamás: Szent János/St. John, 1991, olaj, vászon, 65 x 60 cm 83

Next