DOMAŠTANI CITIES COUNCIL
The monograph by Ivana Antic Bašičević the work of Emerik Feješ contribution to the interpretation of the work of the Novi Sad artist, local Naive painter, whose images feature urban scenes. He created his art using original technique, tempera and a match to paint a color on the paper. Motive has always been a city, first near by Zagreb, Novi Sad, Rijeka, Budapest, where he lived, then all remote and very different cultures.
Prior to less than four years in Novi Sad gallery "Renata" exibited the work Emerik Fejes work, A painter who usually belongs to the naive painters, although his work is unique, out of the established categorization. In recent days the, the Museum of Contemporary Art wrote Ivana Antic Bašićević, Published a monograph, continuing revaluation of the creator whom many citizens perceived as eccentrics. His works visually resemble the painters Hleban school or from Kovačice, but thematically quite oponent while Generalić or Susan Halupova inspiration found in the country setting and folklore, Feješ painted, aded an extra urban elements, motifs from his imagination, and the most famous are from local and world capitals, although only a few of hundreds of painted cities he actually visited.
The artist's life was unusual, painstaking, and sometimes joyfull and optimistic above all. Born in Osijek in 1904. as the ninth kid of fourteen children families Stefanovicand as early as age begins to work in order to support many household residents. Father teaches him the skill of making buttons and combs, and he worked that for many years, often in Pannonia changing cities in which he resided in, until he applied and received early disability retirement in 1949 year.
Upon completion of the First World War, families, atypical for the former occasions when many joins the winner, he is changing his current surname to the Hungarian surname Feješ. The family rule to go its own way, not taking care of trends and, and local residents opinion, he kept his way of life till the the end, especially since he started painting as a retired man. He worked in his wife's dactyl bureau office painting on the back of the paper initially meant to light fire in the ovens. Although he is totally self-taught, he puts his first works in the window and advertises for sale! From the start, he was fully convinced that it was a significant piece of art, despite the confusion and mocking of neighbors and acquaintances. Much later, he switched to paint on canvas and the hardboard.
He painted the original technique: tempere was applied to the paper with a match. The motif was always the city, the first one nearby, Zagreb, Novi Sad, Rijeka, Budapest, where he lived, and then all the more distant and totally different cultures. According to postcards, he chose the dominant motif of a certain urbanity, but the pictures did not emphasize the whole of the motif, but very numerous details. It could be said that the homeland is actually a series of sharpened, somewhat created details of the main urban motive. For detailing, the image was divided by a series of horizontal and vertical lines into countless cubes that, individually lubricated by unusually strong colors, are always precisely adhering to the linear restriction. There are never two colors in one field, and there are no transitions from one color to another.
Tople, fovističke boje daju živost slikama punih radosti i veselosti. Dela ostavljaju utisak šarolikog kolaža. Perspektivom se retko služio i to originalno, tako što je zgrade u pozadini slikao znatno umanjene naspram zgrada u prednjem planu. Po pravilu slika građevine, ljude i automobile tek ih povremeno smeštajući u ambijent, i to samo kada mu je potrebno da unese živost i pokret u statičnost gradskih zdanja. Mada polazi od razglednice, nema potrebu da prikaže realnost, već detalje domaštava, „vidi svojim očima“ i slika postaje samosvojno umetničko delo. Antićeva precizira da „podstaknut stvarnim, slika izmišljeno, fantastično, kreira nove gradove“.
The turning point occurs in 1956 when the exhibition amateur critic notes Dimitrije Mica Bašićević (Also known as the artist Mangelos) and the following season he organized independent exhibition in Zagreb Peasant naive gallery. Internationally by promoting Oto Bihalji Merin i Vladimir Crnković. They begin to regularly visit and collectors, Rajko Mamuzić, Vojin Bašićević, Bosko Petrovic... The influx of money is increasing, from poor tiny apartment turns into a newer and more modern, but still did not come to realize the old dream and sale of works earned vapors passed through towns that he painted. He died in 1969, just as the focus of curators, critics, public ...
Nakon smrti pada u zaborav, delom i stoga što blago zamire i interes za naivnom umetnošću u koje je, zbog potpune samoukosti, najčešće svrstavan. Ipak, dubrovačka galerija „Sebastijan“ ga se seća i u beogradskom odeljenju mu priređuje izložbu 1991.godine, dok je nemačkoj javnosti predstavljen sedam godina kasnije. Sve do izložbe u galerijii „Renata“ pojavljuje se retko, pri grupnim prikazima naive ili „otkačenih“ umetnika. U međuvremenu, Muzej naivne umetnosti iz Jagodine objavljuje katalog o Feješu u ediciji Klasici, čime se Nina Krstić priključuje Mišku Šuvakoviću,Mileti Prodanoviću, Nebojši Milenkoviću, Mirjani Gvozdenović, Džejn Kalir, Maks Imdahi, Tomasu Roskeu, Arturu Danteu.., koji su na našem ili na svetskim jezicima poslednjih decenija pisali o Feješu, bilo u tekstovima kao samostalnoj umetničkoj ličnosti, bilo u sklopu posmatranja naive, brut arta, seljačke umetnosti ili drugih ne mejnstrimovskih pokreta. Monografija Ivane Bašičević Antić je novi doprinos sagledavanju stvaraoca i potvrda da originalan opus zavređuje stalna iščitavanja novih generacija poklonika umetnosti.