Náray got married around 1910-1911. This private life element can be deduced from the fact that his first returning model could be seen on his drawings and painting around this time. Characteristically, we only know about this dark haired and dark eyed lady with a pondering expression that her name was Katica. What is interesting about our selection remembering her is the fact that the number seventy-eight can still be seen at the bottom right corner, which was the code of the picture at the exhibition, where the capital bought it.

 

Study portrait
(Arckép tanulmány)
- around 1913
signed, top right: Náray Aurél
size: 53.5 × 31.5 cm
technique/material: oil-painting, cardboard
[Hungarian National Gallery]

 

The portrayal of women was always in majority in his art. The portrayal of amoretti and children is closely linked to this, in which the "weaker gender" gets the lead likewise.

Péter N. Horváth

Artúr Elek:

Aurél Náray

 

"In the early stages of his art, darkness was practically the hideout of his colours. Green, pink and blue could hardly presumably be seen. Some blinding white spots flashed out of the darkness - a part of the dress or the shoes of the woman, who is the continuously renewing subject of Náray's paintings; the subject and most probably the inspiration or maybe the Muse. It is a black-eyed and wavy black-haired woman, who has a frail, girlish figure, and who is such an inspiration of his art as the flowery field and green forest for other painters, which changes its mood as the sun goes: laughing or hazy smile, or musing gloom."

~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~

" . the woman of hundred variations, whose face only knows joy, as if pensively or stubbornly, sadly or musingly she was the melody of the artist's spirit, the happily painful chord of his rugged life. "

 

Nyugat . / . issue no. 24, 1921 . / . Figyelő
(selection)

 

 

Katica with a plucked instrument
(Katica pengetős hangszerrel)
- around 1916
no signature
size: 56,5×40 cm
technique/material: oil-painting, canvas
[private ownership]

Katica with a white flower
(Katica fehér virággal)
- around 1918
signed, top right: Náray A.
size: 69×49,5 cm
technique/material: oil-painting, canvas
[private ownership]

Muse
(Merengés)
- after 1919
signed, bottom left: Náray Aurél
size: 13,5×9 cm
reproduction; picture postcard;
issued by: Hungarian Rotophot Society
(Magyar Rotophot Társaság) Nr. 42
[Data storage of the Hungarian National Gallery]

 

 

Katica died between 1926-1928., relying on internal sight under his protection. We believe that his inclinations for imaginary, visionary painting were, besides his seclusion, even enhanced by the early death of his young wife. A significant proof of this is the work made in commemoration of his wife.

 

In remembrance of Katica
(Katica emléke)
- around 1927
no signature
size: 75×63 cm
technique/material: oil-painting, canvas
[private ownership]

 

 

In the foreground of the picture, at the left side, we can find the "superficial" features of Náray's model, succeeding Katica, and becoming stable, in the "unelaborated" face of the playing girl.

 

author: Péter N. Horváth
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