István Nádler (né en 1938)FEKETEBÁCS II, 1986-2015Huile sur toileSignée, titrée et datée au dosOil on canvas; signed, titled and dated on the reverse200 x 150 CM - 78 3/4 x 59 in.PROVENANCECollection privée, HongrieEXPOSITIONLeverkusen, Erholungshaus der Bayer AG, 19 octobre-23 novembre 1986 ; Hagen, Stadthalle Hagen, 12-30 janvier 1987 ; Münster, Stadthaus-Galerie, avril 1987, Aspekte Ungarischer Malerei der Gegenwart (en collaboration avec Artbureau Artex, Budapest)BIBLIOGRAPHIEHegyi Lóránd, Nádler István, cat. exp., Mucsarnok Kunsthalle, Budapest, 2001, reproduit p. 148 (version de 1986)"In contemporary Hungarian art István Nádler represents the first generation of the Hungarian neo-avantgarde, the so-called "great generation". This loose group first appeared before the Hungarian public in 1968 at a semi-official exhibition held in the lecture hall of an architects` office in central Budapest. The exhibiting artists entered the history of art under the name of the Iparterv Group. The group was not unified in terms of any particular style. Neo-constructivism was presented alongside pop art, conceptual art and abstract expressionism. What was common was a need to approach or, more precisely, to return to the current tendencies of universal art. […]Nádler started out from constructivism, but these early compositions were already different from the American model of Hard Edge in as much as they were restrainedly passionate and the colours almost burst through the discipline of the geometric structure. […]Malevich`s outstanding work, Yellow Parallelogram, exhibited in the Stedeljik Museum in Amsterdam, has acted as the "great motif" in Nádler`s painting since the beginning of the 1980s.[…] The pictorial problem is manifested in the collision of real and imaginary space. In the past decade Nádler has distorted, tormented and twisted the originally geometric, still sensitive and fragile form, which was almost organic in Malevich`s case. This was a funnel-shaped triangle in the middle of the 1980s and a completely imaginary, floating and dancing form on paper in his Rome compositions of the 1990s. Which space is real? The one we live in or what lives in our imagination? István Nádler seems to regard the tension between these two, their effect on one another and sometimes inextricable coincidence as his most important pictorial problem. It could also be called the battle between the geometric rational form and emotional, passionate or dramatically restrained colour. In the 1980s the geometric form is represented in the compositions only as a distant memory, an outline, a shadow, although it becomes dynamic in certain cases. By the 1990s this is again purified, becoming tighter, though none of its dramatic power is lost. The "great motif" is doubled and turned round. It becomes new geometric forms, a shape recalling a rectangle.In certain cases it becomes a gate, which reflects the influence of his Florentine experience and which is almost metaphorical. Now Nádler wants to penetrate the imaginary space via this visionary gate, which also leads to a new artistic period."Katalin Néray, The `Great Motif` exh. cat., Kunst, Europa: Ungarn. 63 deutsche Kunstvereine zeigen Kunst aus 20 Ländern, Kunstverein Bremen, 1991"50000