Vilmos Aba-Novak

Savonarola

Vilmos Aba-Novak's original drypoint and etching, "Savonarola" is printed upon thick wove paper and with full margins as created by the Hungarian artist in Budapest in 1925. This is signed and dated, by Vilmos Aba-Novak in pencil to the lower right margin. It depicts an interior of a church, probably Savonarola's Church of San Marco. Diagonal shafts of light break into the darkened interior through the tall, narrow windows. Deeply bitten lines and cross hatchings provide depth and turbulent spatial dimensions somewhat akin to the mazes of a Piranesi prison etching. The psychology of religious ecstasy and extremism is a major element in the art of Vilmos Aba-Novak. Here the famous fifteenth century priest, Girolamo Savonarola is portrayed preaching to his entranced followers.

Savonarola

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Title:	Savonarola
Artist:	Aba-Novak, Vilmos (Budapest, Hungary, 1894 - 1941)
Date:	1925
Medium:	Original Etching and Drypoint
Note:	Vilmos Aba-Novak: One of Hungary’s most esteemed painters and etchers of the early twentieth century, Vilmos Aba-Novak initially trained as a drawing teacher at the College of Fine Arts, Budapest, from 1912 to 1914. He was then enrolled into military service during the First World War (1914 to 1918). After the war he completed his studies under Viktor Olgyay (Olgyai) and taught for several years at the Budapest Technical University. In 1922, Vilmos Aba-Novak studied etching techniques at the College of Fine Arts, again under Olgyay.
	In 1928, Vilmos Aba-Novak received a scholarship to study in Rome at the Hungarian Academy. He remained there for three years and during this time exhibited his art in Paris, New York, Chicago, Venice and Rome. Upon his return to Hungary he was frequently commissioned for his large, monumental paintings and frescoes, painting in such churches as Hosok Kapuja, Szeged (1936), the Church in Varosmajor, Budapest (1938), and the Szent Istvan Mausoleum, Szekesfehervar. For the final two years of his life, Vilmos Aba-Novak taught art techniques at the College of Fine Arts, Budapest.
	In his paintings, frescoes and original etchings, Vilmos Aba-Novak drew upon a number of techniques and sources. As one can view from this original etching and drypoint, Expressionist elements played a key role in his art. From his residency in Rome the artist also drew upon some of the techniques of Italian novocento. Finally his earlier work bears a similarity to the Hungarian Group of Eight while his latter art displays an affinity to the work of the Activists. Employing all these techniques, Vilmos Aba-Novak produced both a unique and thought provoking style of art that gained for him a strong, international recognition.
	For his subject matter, Vilmos Aba-Novak was often drawn to scenes of markets, circuses and religious ceremonies and occasions. The emotional, psychological and dramatic elements produced by large crowds and processions held a special appeal, and throughout the artist’s oeuvre, the depictions of masses of humanity and apocalyptic events were constantly examined.
	"Savonarola" falls within this fascinating realm. This large drypoint and etching depicts an interior of a church, probably Savonarola's Church of San Marco. Diagonal shafts of light break into the darkened interior through the tall, narrow windows. Deeply bitten lines and cross hatchings provide depth and turbulent spatial dimensions somewhat akin to the mazes of a Piranesi prison etching. High in his pulpit Savonarola, with eyes closed, holds the cross aloft. Below him a mass of humanity portrays all emotions from religious ecstasy to agony.
	Light is shed on this amazing work of art by comparing it to another Vilmos Aba Novak etching and drypoint in the collection of the Hungarian Academy of Fine Arts, Budapest (Magyar Kepzomuveszeti Egyetem). * Created in the same year as Savonarola (1925), Komenet II ('Second Coming'), depicts a priest and his congregation gathered on a hilltop where a large cross stands. Their church or cathedral is seen in the background. Much of the same psychological emotion and drama is here present. Both these works of art thus examine humanity at the imagined end of days, at the Apocalypse.
	"Savonarola" is signed and dated in pencil. It is not, however, numbered in a specific edition. Being created primarily in the thick, velvety lines of the drypoint medium (which yields very few s before losing its dark tones), it is unlikely that this important work of art exists in more than twenty s.
	The psychology of religious ecstasy and extremism is a major element in the art of Vilmos Aba-Novak. Such is the case with this scarce, original etching and drypoint entitled, "Savonarola". This famous fifteenth century priest is here portrayed preaching to his entranced followers.
	Girolamo Savonarola (born, 1452 - died, 1498) was born in Ferrara and graduated from that city's university with an advanced Arts degree. By 1475, however, he had become a Dominican friar and moved to the convent of San Domenico in Bologna. Savonarola located permanently in Florence in 1490. There he began to preach passionately about the coming Apocalypse (seen by many as the year 1500) and of the Last Days. Girolamo Savonarola soon developed a huge following that stood in opposition to Pope Alexander VI. By 1495 Savonarola had become both the secular leader and priest of Florence.
	The year 1497 marked the height of Girolamo Savonarola's powers when he ordered his followers to carry out the Bonfire of the Vanities. Collecting anything deemed 'immoral', he assembled a large pile of musical instruments, gaming tables, mirrors, clothes etc. and set fire to these items in the Piazza della Signoria. Unfortunately, among these 'Vanities' were works of art by such painters as Botticelli and Michelangelo and books by the ancient poets and philosophers.
	For his subject matter, Vilmos Aba-Novak was often drawn to scenes of markets, circuses and religious ceremonies and occasions. The emotional, psychological and dramatic elements produced by large crowds and processions held a special appeal, and throughout the artist's oeuvre, the depictions of masses of humanity and apocalyptic events were constantly examined.
	Within a year, however, Florence had tired of Savonarola's religious fervor. Excommunicated then arrested, Girolamo Savonarola was executed on May 23, 1498 in the same Piazza where the Bonfire of the Vanities had earlier taken place.
Note:	The Hungarian National Gallery, Budapest, includes an of "Savonarola" in its permanent collection.
Reference:	* Hungarian Academy of Fine Arts, Magyar Kepzomuveszeti Egyetem, http://www.mke.hu/about/grafika_archiv.
Size:	19 1/2 X 17 1/8 (Sizes in inches are approximate, height preceding width of plate-mark or image.)
	UnMatted
Buy Now	Price: $795.00 US
Condition:	Printed upon thick wove paper and with full margins as created by the artist in Budapest in 1925. Containing full, rich tonal values without a trace of deterioration and in excellent condition throughout. Signed and dated, '25", by the artist in pencil to the lower right margin. "Savonarola" represents a large, scarce and prime example of the influential Hungarian art of Vilmos Aba-Novak.
Subject:	Vilmos Aba-Novak, "Savonarola", Original Etching and Drypoint, Hungarian National Gallery, Hungarian art, religious ecstasy and extremism, Bonfire of the Vanities, the Apocalypse, Girolamo Savonarola.
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