Oszkár Glatz paintings

Oszkár Glatz
(Pest, October 13, 1872 - Budapest, February 23, 1958) is a Hungarian naturalist painter in the post-impressionist style of Nagybánya. Its strengths are the depiction of figure, movement, plein air painting, the depiction of the intimate unity of the landscape and man, the capture of folk costumes.

Career
Your career beginning
Born as a child of Henrik Glatz and Karolina Fuchs (1844–1905). He first studied in his hometown, then in Munich and Paris. With great enthusiasm, he helped his masters to organize and establish the artists' colony in Nagybánya. Even before or after school, he grabbed his painting equipment and watched it until dark, drawing the motifs of his choice from the landscape. It was corrected by excellent masters, Hollósy, Thorma, Réti, this summer Károly Ferenczy and Béla Iványi-Grünwald were also here.
Glatz has come a long way with small landscapes, but he has also stretched a larger canvas, capturing a group of red-water miners in a multi-faceted composition, a period when they pray before landing in the barn at dawn. Ten or eleven figures stand or kneel in prayer, the rising sun casts its first ray upon them, and draws the blue shadows of the trees on the white wall of the house. The title of the picture is: Praying Miners (1896). Glatz is the first notable result of his vivid observation and pictorial skills.
At the top of his career
In the summer of 1897, in Baia Mare, Glatz discovered a treasury forest on the steep, sloping slopes of Rozsály. The 25-year-old went up more than 1,000 meters in early May, when even snow covered the peaks and didn’t come down there for five months. He created in complete solitude, he could not meet anyone other than the shepherds, forest guards and forest workers who lived there, and sometimes an artist could go up to him or ride on an official tour of a forest treasurer. He painted a lot of pictures, more than twenty, and painted Est on the snow on a large 180.5 x 281.5 cm canvas. image of a huge plein airt.

The scene of the evening in the snow is the top of the Roach. The horizontal line of the roof bends steeply on one side, making the height and mass of the mountain felt. The figure of the Oláh shepherd boy is drawn halfway into the air as he herds his sheep. The last rays of the sun are setting, covering the mountainside of the forecourt, the flock, and the shepherd with fire. At the back, far away, the dark blue mountain giants, the brothers of the Rosary, melt up into a dark violet color with the misty bottom of the eastern sky, which above is painted purple by the farewell Sun.
In 1897 he had a huge success at the exhibition of the people of Nagybánya in Pest, he was praised by the older masters, even the critics, he was rewarded by the audience, he received many portrait orders. Originally Est in the snow c. The picture was taken by the museum in Miskolc, today it is preserved by the Hungarian National Gallery. In the summer of 1898 he visited Baia Mare again, but not among the great mountains, but towards Szilágyság, the gentler, hilly, wooded landscapes. He almost went from village to village, he didn't stay in one place for long, this landscape didn't give him as much experience as the izvor went. Its image yield has also become smaller, the most notable of which is the Wooden Barrels. Work painted on 197x144 cm canvas. Mihály Munkácsy reminds of her theme. to his image, but his picturesque conception is different, the landscape and man appear in harmonious unity. On a hilltop, in front of a gray cloudy sky background, is a silhouette of a peasant woman with a bouquet of roses on her back, a child behind her, with a similar load, in a similar movement.
The audience also received his pictures with great love at the 1898 exhibition, and he also had great success with his writing portraits (Pál Gyulai, Kálmán Mikszáth, Károly Eötvös, Géza Gárdonyi, Zoltán Ambrus, etc.). The grave of Oszkár Glatz in Budapest. Farkasréti Cemetery: 22-1-59
Decades of Workers
After 1898 he did not go to Baia Mare, he painted in Buják, Nógrád County, and became a great painter in Transdanubia and Lake Balaton. 1901 Wrestling Boys. His picture was taken at Lake Balaton. On January 23, 1901, he married Reichenberg, the daughter of Mary Wildner of Wildner, the daughter of Ede Wildner and Mary Löffler. His wife was also a trained painter, painting still lifes, and the couple's first collective exhibition in 1910 was on display at the National Salon. Between 1912 and 1938, he taught at the College of Fine Arts, and in the summer he painted many pictures of Hungarian peasant society. His artistic writings are also significant, he wrote many articles in order to preserve the traditions of Hungarian folk art. After the Second World War, he also tried the trend of socialist realism, and his painting The Distinguished Street Sweeper (1952) became an iconic work of “social realism.”

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