Béla Kádár

Béla Kádár ( born June 14, 1877 in Budapest, Hungary, † January 22, 1956 ) was a Hungarian painter and draftsman. He is one of the most important Hungarian visual artists of the 20th century.

Life

Kádár was born into a Jewish working class family in Hungary. Because of the early death of his father he had to work as a lathe operator after only six years of primary school. Early on, he began painting and studied from 1902 at the Budapest " Academy of Fine Arts ". In 1906 he had a successful exhibition at the Hungarian National Gallery. After he left in 1910 for the first time Hungary to study trips to Paris and Berlin, in 1918 he left his home permanently to live in Germany and France. In 1919 he has an exhibition with Hugo Scheiber in Vienna. In October 1923, Kádár had his first major solo exhibition in Herwarth Walden ( 1878-1941 ) gallery in Berlin and his images were published in the art journal "The Tempest". During his stay in Berlin in the 1920s, he changed his drawing style from the striking expression towards a more romantic. He was inspired by the German Expressionist and especially by the artist of the "Blue Rider" and took in his works also elements of other contemporary styles on as Cubism, Futurism, Neo - Primitivism, Constructivism and the Metaphysical painting.

During the 1920s and early 1930s he exhibited in Budapest, Berlin, Philadelphia and through the mediation of Katherine Dreier twice in New York's Brooklyn Museum from. In September 1928, he traveled for the second exhibition to New York.

Appreciation

Kádár represents an independent and unauswechselbares artistic work in which combines the rural life of the home with its diverse ethnic details with Hasidic orthodoxy. Poetic in Stage, in the color tones and line trains. A constant alternation between Dinghaftem and compositionally conditional, between body contour and lyrical writing.

It is characteristic of Kádár's works that they create the illusion of reality and over- reality and radiating with high technical perfection and a serenity sense of harmony have emerged. Behind his sense of harmony is a deep sympathy with human destinies and inexhaustible hope. Even in difficult times, such as when his work was branded as degenerate art, he did not let go of hope.