Peter Pollág 2

Peter Pollág. St. John’s wort

2016
Bratislava, canvas, acrylic, oil, 180 x 180 cm
Signed in the bottom right hand corner: peter / Pollág / 2016
Inscription in the bottom left hand corner: Photo Atelier E. Kopasz Levoča

The painting is part of a, so far, small series called Herbal Plants and, at the same time, a series of exhibitions of the same name. The basic composition of the painting was inspired by a photograph from a family album taken in the photographic studio of Eugene Kopasz who was active in Levoča in the years 1921 – 1932.

Peter Pollág. Painting – on solidarity, trust and other virtues

1999
Bratislava, timber panel, oil, aluminium, combined technique, altar triptych with movable wings painted on both sides, the overall height 45 cm, width 80 cm, height of the central panel 45 cm, width 40 cm, height of the altar wing 45 cm, width 20 cm
Signed on the rear side of the left wing at the bottom: Pollág / 1999

The artwork has a shape of an altar triptych with a central panel and a pair of altar wings painted on both sides. It is a tribute to the artist’s native town, its history and artistic monuments which are dominated by medieval altars. The form of a winged altar is the basis for his series Altars. Further works from this series – Prayer, Canopy, Virgin (2003 – 2004) and a slightly older Kiss (1995) are in private collections. Following the exhibition Working on Paper in the exhibition premises of the Spiš Museum in 1998, the artist donated the painting inspired by the Latin inscription above the main entrance to the Levoča town hall to the Museum. Thus the painting is the only work from the Altars series which is now in public collections. On the whole, the artist’s work is represented in the museum fund by five paintings altogether.

Peter Pollág

St. John’s wort

A painting from the latest period of Peter Pollág’s work (1958) was purchased because of the topic which has a strong autobiographical context and a connotation to the history of the artist’s native town of Levoča. It represents the latest painter’s creation and, at the same time, is a reflection of the work by a Levoča photographic studio of Eugene Kopasz from the 1930’s.
The painting is part of the, so far, small series called Herbal Plants and also a series of exhibitions of the same name. The inspiration and the starting point for the artist was a photography from a family album which had been made shortly after the first world war in the Levoča photograpic studio of Eugene Kopasz. It is a group portrait of the artist’s grandparents Anna and Stephen Pollág and their oldest children, those who had survived until adulthood, son Paul (the artist’s father) and daughter Hanka. It is a traditional photograph of an urban craftsman’s family. The artist’s father was a tailor and the whole family of several generations lived in Levoča.
The artist has emphasized a certain formality of the studio photograph by overexposing the studio – the floor, the stage and the falling snowflakes on the right. A surreal supplement to it is a figure of a naked woman with a hat that is a personification of emotion and energy hovering at the back of the photograph. According to the artist, it is „ a personification of a genuine spontaneity of the family which the old formal studio photographs were suppressing. At the same time, it is an allegory of an erotic charge, love, positive relationships in the family, a picture of mutual love (hence the title of the painting: Ľubovník (love invoking plant in Slovak)- St John’s wort).

Peter Pollág

(born on 19 February 1958 in Levoča) comes from an old Levoča family. In the years 1977 – 1983 he studied at the Academy of Fine Arts in Bratislava. Having graduated he stayed at the Academy as a lecturer in the years 1983 – 1990. He has enhanced his study of painting by studying at foreign academies, such as the Accademia de Belle Arti Pietro Vannucci in Perugia in 1980, in the years 1984 – 1989 the Academy of Fine Arts in Prague, in 1986 – 1987 the École Nationale Supérieure des Beaux Arts in Paris, in 1988 the faculty de Bellas Artes na Universidad Complutense de Madrid in Madrid. Following the year 1990 he has been devoted to his artistic work, small size as well as monumental paintings, stained glass windows, drawings, graphics, book illustrations and scuplture.

Eugene Kopasz

was a Levoča photographer. In 1918 he had finished a two year course in photography in Budapest and started working in a Levoča branch of the Helios and Rosenbach photographic studio, originally from Budapest. In 1921 he bought it and carried on in the activities of the studio under his own name. The studio was in No.2, Nová Street and until 1932 it was very popular. In addition to family portraits and pictures of individuals from the town and its surroundings he also took pictures of the Levoča barracks. Due to his Jewish origin he was detained by the Gestapo and deported to the former concentration camp in Sachsenburg in 1944 which, at that time, functioned as a testing operation for the Bruno Tautenhaun company and was also a shooting range. He died there under unknown circumstances.

Portrait 2

Anna Normann-Ehrenfels. Sketchbook

1871
Valpovo (Walpacher), Slavonia, in today’s north-eastern Croatia, paper, cardboard, pencil drawing, black chalk, tempera, 31 x 29 cm
Signed on all drawings with the artist’s first name: Anna

The sketchbook contains 52 sheets depicting flowers, fruits, studies of two female portraits and vedutas of her native Valpovo and the surroundings, all made in pencil. Three sheets have a precise date of the drawings origin – gezeichnet im Mai / Juny 1871 (made in May/June 1871).
The drawings were made by Countess Anna Csáky, neé Normann-Ehrenfels, before the marriage, probably as part of her education in her native town which she had left after the wedding with Count Vidor Csáky de Körösszégh et Adorján. She moved to Spišský Hrhov where the married couple had built a neo-baroque mansion.

Rudolf Csáky. Caricatures from 1835

Smokovec, the High Tatras, paper, pencil drawing, 22 x 28,7 cm
signed at the bottom right hand corner: RUD pinx Schmecks 835 / Von Conten Rudolph Csaky gezeichnet

Two caricatures depicting male figures which the artist must have been fairly familiar with. He recorded their typical stature and the way of walking, tailcoat clothing, with top hats in their hands or on their heads, walking sticks or umbrellas in their hands. Several similar caricatures have been preserved in the State archive in Prešov, the Spiš archive in Levoča and the Csáky fund in Spišský Hrhov.

Hedwig Friedländer. Portrait of Anna Csáky

1899
Spišský Hrhov, oil painting on canvas, 197 x 127 cm, in the original frame 210 x 135 cm
signed at the left hand bottom corner: Hedwig Friedlaender 1899

The paintress depicted Anna Csáky as an emancipated, self-confident woman, sitting in an armchair at a coffee table with an interesting still life behind, with a burning cigarette and an ashtray. Anna Csáky (1854 – 1927) came from an aristocratic family of Normann-Ehrenfels. On 12 October 1878 she married Count Vidor Csáky (1850 – 1932), a son of Augustine Csáky and Iphigenia, neé Prónay. They had chosen a new neo-baroque mansion in Spišský Hrhov as their residence. The married couple had themselves painted for the mansion family art gallery by the talented Viennese paintress Hedwig Friedländer (1863 – 1916), daughter of the painter Friedländer, a Knight of Malheim. According to the memory book, the paintress came to the mansion in Spišský Hrhov on 20 November 1899 and, in addition to a drawing of the mansion and her signature in the book, she made this non-conformist portrait of the Countess there.