His father, Mihály Vaszary (Keszthely, July 13, 1827 – Kaposvár, August 13, 1892), who in his youth was first a manor priest and then a teacher in Kaposvár, and his mother, Kornélia Szabó, was impoverished in her Roman Catholic family of noble origin. His grandparents were Antal Vaszary master brewer and noblewoman Anna Szabó; Antal Vaszary's half-brother was Kolos Vaszary, Archbishop of Esztergom. He began his studies at the Pattern Drawing School with Bertalan Székely and János Greguss. After 1887, he first studied in Munich with von Hackl and von Löfflitz. Influenced by the pictures exhibited in Munich by the French painter Bastien-Lepage, he went to Paris, where he enrolled in the Julian Academy in 1899. Simon Hollósy and the painters of the Nagybánya artist colony grouped around him had the greatest influence on him, but his art remained French-inspired throughout.

His early works of tapestry approaching the art nouveau were created with Hungarian folk art motifs. The influence of Pierre Puvis de Chavannes can be discovered in his Art Nouveau paintings such as the Byzantine Madonna, Golden Age. Later, he returned to realistic-naturalistic life pictures. (Partial Harvesters, 1901; Servant, 1902; Golden Age, 1897–98). He traveled a lot. In the second half of the first decade of the 1900s, the influence of French Impressionism can be felt in his paintings (Masked Ball, 1907; Tatai beach, 1909), and then he came under the influence of the fauvists Raoul Dufy and Kees van Dongen.

His painting "Partial Harvesters" was bought for the Buda Castle by the Emperor and King József Ferenc.

He spent the summer of 1905 in Nógrád, Rétság, in the county of his future wife Mária (Mimi) Rosenbach. He married Mimi, daughter of Sándor Rosenbach and Anna Strahler, on November 6, 1905 in Budapest.
In the following years, they bought the plot in Iata-Tóváros from the sale of the Rosenbach estate, where he often stayed from the 1910s until his death. It was in the Tata-Tóváros, a studio house (Művész köz 1.) designed by Ede Toroczkai Wigand and built in 1911. The villa contains the building elements of the Székely residential building, as the decorative elements of the Székely woodcarving art. In the years between 1916 and 1919, Vaszary never left Tata. He painted many of his works in his villa and in the city (e.g. "Tatai Beach", "Tatai Park", "Horsemen in the Park"). He left Tata in 1920.

 During the First World War, he painted dramatic pictures of the fronts (for example, Soldiers in a Carpathian Village, 1915; Soldiers in the Snow, 1916), the influence of the German Expressionists is best felt in these works. Shortly after the war, the dramatic tone still prevailed in his paintings (like on the painting of Golgotha). However, he soon traveled to Paris again and returned to the traditions of French painting. His pictures with fast, relaxed, light brushstrokes were made at this time, perhaps the most typical ones being the Portrait in the Park and the Portrait of a Woman.

"It is enough to start from nature, or to be reminded of it with a suggestive force." he testified in the 1920s. This principle remained characteristic of his temperamental painting throughout, essentially opening up to the Hungarian avant-garde.

 From 1920, he was a teacher at the College of Fine Arts, reorganized by Károly Lyka, until his retirement in 1932. He was an excellent teacher at the college, he taught new styles and tried them all himself. His individual style was always characterized by vigorous, sketchy brushwork (Birskörték, 1918; Ébredés, 1921). In 1926, he received an order from the Tihany Biological Institute to paint frescoes.

 He was already an exhibiting artist at the National Salon (1898, 1902, 1906, 1912) before he was twenty, and in 1912 he also had an exhibition at the Művészház. In 1916, he exhibited his pictures as a war painter at the press headquarters. He had exhibitions in the Ernst Museum in 1909, 1920 and 1924. In 1922, he had a collection exhibition in the Helikon Salon. In 1928, he participated in an exhibition organized by the UME.

For the XVI. Venice Biennale international exhibition of 1928 Vaszary organized the arrangement of the Hungarian material of the exhibition, and in recognition of his work he was awarded an Italian state award, in the same place the Still Life with Flowers picture of his was bought by the Italian state. In 1929, he participated in the presentation of Hungarian art in Nuremberg, where the Nuremberg Museum had bought his painting titled: Strand. (Bath.)He was awarded a gold medal at the presentation of the UME in Genoa. His picture titled: Sea Bath was bought by the Nervi Galleria d'arte moderna. In 1933, he had a collection exhibition at the Déri Museum in Debrecen.

His book on his artistic principles was published in 1922 under the title Naturalism and Imagery. He created graphics and illustrations for Est-lapok, (Evening newspapers,) and also published his concept of art here in these papers, which spoke about the freedom of the artist and the choice of artistic style, and provided an evaluation of the painting trends of the turn of the century.

He didn't rest even after retiring: he painted during the day and studied literature in the evening. When he developed a heart condition, he decided at the end of the 1930s to permanently move from his apartment on Attila körút in Budapest to Tata city. His unexpected death - on April 19, 1939 - prevented this; he died here, in Tabán, in Budapest. He was cremated in Farkasrét, then taken to Tata, where he was laid to rest in the Almási út cemetery on April 22. His wife, who was his faithful inspiration until the end of his life, died on July 4, 1942. Her body was placed next to her husband on July 5. Their resting place is guarded by a huge memorial stone in the cemetery.

Details of the painting:

Technique: oil on canvas

Size without frame: 45 x 52 cm

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