Mato Toth

Naïve Painter and Collector

MATOTOTH-12

The Descent from the Cross

 

For availability, painting prices and other information contact the author:

Mato Toth

Andrije Hebranga 27, 48000 Croatia

+38598/183-3009

info@mato-toth.hr

Biography

  • Mato Toth was born in 1954 in village Repaš, situated on the side of Drava River, in the centre of Podravina region. Already at the age of 15 he started painting on glass. He first exhibits at a group exhibition of painters “Molve Circle 72” (“Molve Krug 72”), followed by numerous painting exhibitions in the country and abroad. For his work he has received many acknowledgements, certificates of appreciation, diplomas and rewards. He is one of the great collectors and as a hobby he collects old heritage, paintings and sculptures. To date he lives and works in Koprivnica, and his studio is located at the address Andrije Hebranga 27, Koprivnica 48000, Croatia. Mato applies oil on canvas technique, oil on glass, painted graphics, etc. Within the past couple of years he also tried himself out in design and had a lot of success. He participated in a large number of independent and group painting exhibitions in the country and abroad. His paintings can be found in many galleries and with private collectors, art lovers from all over the world. His last painting series was “Strawberries on snow” (“Jagode na snijegu”). He took part in many humanitarian art colonies. Mato Toth’s paintings have distinctive manner, painted with gentle colours and expressed figures in a soft tone with everything transcending or emerging from mist and this atmosphere is present in many of his works.

  • Naïve painting with its specific expression went through stardom, popularity in the country and abroad, acknowledgements and critics. It also came to be worn out, with hyper production of average and below average works, resulting in less and less admirers of naïve painting. However, within the past couple of years the situation is changing. With stricter judgement criteria valued are only the values of those who are truly present on art scene. It is no longer sufficient to have an expression on the trail of naïve movement of Podravina Circle and great masters that inaugurated it at the time of its emergence and still doing it today, with recognizable poetic. Now days as strong personal note is required trough which general places will get a dose of artistic authenticity. Among those objectively few artists is also Mato Toth, who connects iconography with the formal side of the naïve world and his personal painting form. His base is realistic sedulity of expression, brought almost to perfection, with successful use of painting on glass technique. Nevertheless, this mimetic does not restrain Toth’s elaboration of form, from characters, landscapes to objects, mainly fruits. Already at the first glance noticeable are somewhat unusual proportions of figures in some mannerist elongation, in the elegance of the volume in which mass gets certain lightness. This is not about a pun to make figures look differently, beyond the proportions of characters in the naïve expression repertoire, but about wanting to express content with character of the form, to bring a new feeling of life’s rebellion in the typical portrayal of everyday life in which connection between the actor and the soil receives a spark of spirituality. Inspiration with rural surroundings is a constant, picturesque genre scenes attract Toth. But he seemed to have moved them from the viewpoint of common interpretations, striving for a new layer of meaning. They are still people in the fields, on the riverbanks, lonely walkers or in the company, preoccupied with hard farming labour, or relaxed. Toth even insists on the story, on charming occasions connected to life in a village, but in this literacy of atmosphere he goes beyond the frames of the motive. Nothing is lost in the credibility of the “ethnographic” side of chosen topic, but he creates in a gap between memories, actual records and idealisation. Toth supports the temperature of the state where realism, at least to a small extent touches symbolism.

  • Painting is a mirror of reality deeply adopted within him, opening itself towards moods of nostalgia and passion, or at least sensuality that grows out of tradition of rural. It is a turn from observation scheme of the village then and now because Toth often uses a flower stream alongside characters to fill up the space. The landscape carries the geographical features of the painter’s origins, to the extent of genetic predisposition, with continuous vibration of beauty in capturing the relatively strict composition frame entering into the depth and width of the space. All vegetation, groves, lonely trees, floral clusters support this gentleness and radiance of nature’s magnificence of which the figures are integral part. With light and well groomed colour Toth creates a visual synthesis of all characters in the painting and the centre of events and apparently insignificant details. With real enjoyment and captivation he gives in to meticulousness even towards small fragments, for example laid down fruitage or in orchestrating shapes of the fruits of the nature in harmony of clusters with accenting colours, for example red, in a pallet brought to “scream”. In the figurative compositions, Toth is inclined to the colouristic softness that in the depths of the landscape results in shading, spatial irreality close to real unreality of his figures. In exchange between reality and dream, everything factual becomes very intriguing and the picturesque draperies, flower-decorated hats and objects that exist on a somewhat vague border of real. Toth does not hesitate to use certain paradox in his painting world, interweaving illustration of events and impression through which events are elevated from the ground. In emotional abundance of his work Toth is a disciplined painter carefully guiding the line, with chromatic subtlety, painting procedures appropriate to the scenes and lyric sensitivity and dramatic excitement. We ourselves become participants in painting dialogues between figures and landscapes through offered meditativeness which comes out from persuasive painting sensuality. Once again we return to Toth’s special interpretation of beauty which shines through even through banal, conditionally speaking. This can be seen in ordinary conversation of fishermen, carriers and full range of other occupations and activities of “little” man, through a pure eye of the painter which observes with love. He paints with internal charge through which creativity and gifted talent make presence in his works, especially in those of artistic demands and responsibility (scenes of Christian iconography).

  • With themes in which possibility of man’s spirituality in scenes of walking through life gets a dimension of no measure of familiarity with the transcendental. It is known that the greatest names in world art are inspired by the Bible. And as if they have created canons on how to shape records from the Gospel. Toth did not distance himself too much from his artistic vocabulary. With light, atmosphere, the chastity of the ambient, he has reached sacredness of the event, but he has placed it the environment of his life. In other words he descended the heaven to earth, as well as he has given ordinary human transience calmness of holiness. In the plain landscape we have the sense of elevation, content-matched topographies, symbolism in which the artistic concept of the nature equally participates in the “factography” of the work. In the poetry of light, Toth develops his refined art in a way that we call a bit awkwardly naïve. It is, as in the case of Toth’s art, part of a very diverse art scene, an expression of impressive value that does not need any preamble. Figurative, realistic and in many ways built on weaving of classical aesthetics. Tradition is woven into naïve art, but not through stiffness of the form but through creative vitality compatible with modern sensibility.

  • Mato Toth

    Naïve Painter and Collector

    MATOTOTH-12

    The Descent from the Cross

    For availability, painting prices and other information contact the author:

    Mato Toth

    Andrije Hebranga 27, 48000 Croatia

    +38598/183-3009

    info@mato-toth.hr

    Painting Gallery

    • MATOTOTH-67
    • MATOTOTH-12
    • MATOTOTH-3
    • MATOTOTH-4
    • MATOTOTH-10
    • MATOTOTH-22
    • MATOTOTH-25
    • MATOTOTH-35
    • MATOTOTH-64
    • MATOTOTH-75
    • MATOTOTH-68
    • MATOTOTH-54
    • MATOTOTH-38
    • MATOTOTH-27
    • MATOTOTH-24
    • MATOTOTH-11
    • MATOTOTH-57
    • MATOTOTH-58

    VISIT GALLERY

    Biography

    • Mato Toth rođen je u selu Repaš, preko Drave u centru Podravine 1954. godine. Već sa 15 godina počinje slikati na staklu. Prvi put izlaže na zajedničkoj izložbi slikara “Molve Krug 72”, a nakon toga slijede brojne izložbe slika u zemlji i inozemstvu. Za svoj rad dobio je brojna priznanja, zahvalnice, diplome i nagrade. Hobi mu je skupljanje stare baštine, umjetničkih slika i skulptura. On je jedan od velikih kolekcionara. Danas živi i radi u Koprivnici, a studio mu je na adresi Andrije Hebranga 27, Koprivnica 48000, Hrvatska. Mato primjenjuje tehniku ulja na platnu, ulje na staklu, obojene grafike itd. Unutar par godina okušao se i u dizajnu i dobro mu je pošlo za rukom. Sudjelovao je na velikom broju samostalnih i kolektivnih izložbi slika u zemlji i inozemstvu. Njegove slike nalaze se u brojnim galerijama i kod privatnih kolekcionara ljubitelja umjetnosti iz cijeloga svijeta. Njegova zadnja faza slikanja su „Jagode na snijegu”. Sudjelovao je i na brojnim likovnim kolonijama slikara u humanitarne svrhe. Mato Toth slika osebujne slike nježna kolorita s izraženim figurama pastelnih tonova, a sve se ipak gubi ili izranja iz neke sumaglice i ta je atmosfera prisutna na velikom dijelu njegovih radova.

    • Naivno slikarstvo specifičnošću svoga izraza doživljavalo je zvjezdane trenutke, popularnost u zemlji i u svijetu, priznanja kritike. Isto tako došlo je do zamora, do hiperprodukcije prosječnog i ispodprosječnog tako da je poklonika toga načina slikanja bilo sve manje. Ipak, posljednjih godina situacija se mijenja. Uz strože kriterije prosudbe cijene se vrijednosti samo onih koji su istinski prisutni na likovnoj sceni. Nikako više nije dovoljan iskaz u tragu naive podravskoga kruga i velikih majstora koji su inaugurirali, u vrijeme nastanka i danas, prepoznatljivu poetiku, nego se traži jaka nota osobnosti kojom će i opća mjesta dobiti mjeru umjetničke autentičnosti. Među te objektivno malobrojne spada i Mato Toth koji povezuje ikonografsku i formalnu stranu svijeta naive i vlastitu oblikovnost. Baza mu je realistična marnost izvedbe, dovedena gotovo do perfekcije, sa sretnim korištenjem mogućnosti tehnike slikanja na staklu. Ipak ono mimetičko ne sputava Tothovu razradu forme, od likova, krajolika, do predmeta, najčešće plodova. Već na prvi pogled uočljive su pomalo neobične proporcije figura u nekoj manirističkoj izduženosti, u eleganciji volumena kojom masa dobiva svojevrsnu lakoću. Ne radi se o dosjetci da figure izgledaju drugačije, izvan mjere likova u repertoaru naivnoga izraza, već o htijenju da se karakterom forme izrazi i sadržajnost, donese novi osjećaj životne oporosti u karakterističnim uprizorenjima svakodnevnice u kojoj vezanost aktera uz tlo dobiva i iskru produhovljenosti. Inspiracija ruralnim je konstanta, slikovite genre scene privlače Totha. No on kao da ih je pomaknuo iz rakursa uobičajenih iščitavanja, težeći i za novim značenjskim slojem. I dalje su to ljudi na polju, uz rijeku, samotni šetači ili se kreću u društvu, zaokupljeni teškim poljodjelskim poslovima ili opušteni. Toth čak inzistira na priči, na simpatičnim zgodama vezanim uz život na selu, ali u toj doslovnosti ugođajem nadilazi okvire motiva. Ne gubi ništa na uvjerljivosti „etnografske“ strane odabranih tema, ali stvara u procjepu između sjećanja, zapisa stvarnog i idealizacije. Toth podržava temperaturu stanja u kojoj realistično bar u manjoj mjeri dodiruje simbolično.

    • Slika je ogledalo stvarnosti duboko posvojene u njemu, otvarajući se raspoloženjima nostalgije i strasti ili barem senzualiziranosti izrasle na tradiciji ruralnog. Obrat je od sheme promatranja sela nekad i sad jer Toth često i cvjetnom bujicom uz likove ispunjava prostor. Krajolik nosi zemljopisna obilježja slikarova podrijetla, do slojevitosti upravo genetske predodređenosti, s neprekidnim titranjem ljepote u zahvaćanju relativno stroge zadatosti kadra i u ulaženju u dubinu i širinu prostora. Sva vegetacija, šumarci, osamljena stabla, nakupine florealnog podržavaju tu blagost i blistavost veličajnosti prirode koje su figure integralni dio. Toth svjetlom i njegovanom bojom stvara likovnu sintezu svih jedinki slike i centra događanja i prividno neznatnih detalja. S pravim uživanjem udubljivanja predaje se minucioznosti i spram sitnih fragmenata u primjerice položenim plodinama ili u orkestraciji oblika darova prirode u skladu nakupina s akcentuiranjem boje poput udara crvenog, u paleti dovedenoj do krika. U figurativnim kompozicijama Toth je sklon kolorističkoj mekoći koja u dubini krajolika dolazi do sfumatornosti, prostorne nestvarnosti bliske realnoj irealnosti njegovih figura. U izmjeni jave i sna sve činjenično postaje itekako intrigantno. I pitoreskne draperije, cvijećem ovjenčani šeširi i predmeti koji egzistiraju na pomalo nejasnoj granici realnog. Toth se ne libi određenog paradoksa u svom slikarskom svijetu, prepletu ilustrativnosti događanja i impresije kojom zbivanja bivaju uzdignuta od tla. U emotivnom obilju djela Toth je discipliniran slikar pažljivog vođenja linije, kromatske istančanosti, slikarskih postupaka primjerenih u prizorima i lirske tankoćutnosti i dramatske uzbudljivosti. I sami postajemo sudionici u slikarskim dijalozima figura i krajolika kroz ponuđenu meditativnost koja izlazi iz uvjerljive slikarske putenosti. I opet se vraćamo na Tothovo posebno tumačenje ljepote koja prosijava i kod uvjetno rečeno banalnog. Tako kod običnog razgovora, ribiča, nosača i sveg raspona zanimanja i aktivnosti „malog“ čovjeka, od slikara čistog oka promatrana s ljubavlju. Onim unutrašnjim nabojem kojim se kreativnost i darovani talent uprisutnjuju u djelu, posebno u onima umjetničke zahtjevnosti i odgovornosti (prizori kršćanske ikonografije).

    • U obradi nekih tema mogućnost produhovljenosti čovjeka u scenama životnog hoda dobiva i dimenziju bezmjerja u upućenosti transcendentalnom. Znano je da su se najveća imena svjetske umjetnosti kroz povijest inspirirala Biblijom. I kao da su stvorili kanone kako oblikovati zapise iz Evanđelja. Toth se nije previše udaljio od svog likovnog vokabulara. Svjetlom, atmosferom, čednošću ambijentalnog dosegao je sakralnost događaja, ali ga je postavio u prostor svoga življenja. Drugim riječima nebo je spustio na zemlju, kao što je običnosti ljudske prolaznosti dao i sabranost svetosti. U ravnici krajolika imamo osjećaj uzvisina, topografije usklađene sa sadržajem, znakovitosti u kojem likovni koncept prirode ravnopravno sudjeluje u „faktografiji“ djela. U poetičnosti svjetla Toth razvija svoju rafiniranu umjetnost načinom koji pomalo nezgrapno nazivamo naivom. A ona je kao u slučaju Tothove umjetnosti dio silno raznolike likovne scene, izraz dojmljive vrijednosti kojem ne trebaju nikakvi predznaci. Figurativna, realistična i umnogome građena na potki klasične estetike. Tradicija utkana i u naivnu umjetnost, ali ne u okoštalost forme već u stvaralačku vitalnost sukladnu i modernom senzibilitetu.

    SUVENIRI

    • MATOTOTH-16
    • MATOTOTH-1
    • MATOTOTH-2
    • MATOTOTH-4
    • MATOTOTH-5
    • MATOTOTH-1

    POGLEDAJ SUVENIRE

    Call or write:

    Mato Toth 

    Andrije Hebranga 27, 48000 Croatia

    +38598/183-3009

    info@mato-toth.hr

    Slažem se da Mato Toth prikuplja, pohranjuje, koristi i obrađuje moje osobne podatke koji su ovdje učinjeni dostupnim, isključivo u svrhu pružanja adekvatnog odgovora te izjavljujem da sam upoznat/a sa svim pravima koja proizlaze iz zaštite osobnih podataka, a osobito s pravom na povlačenje pristanaka u svako doba. Stavljam na znanje da se u ostvarenju svojih prava imam pravo obratiti Mati Tothu, kao i Agenciji za zaštitu osobnih podataka (AZOP-u), da Mato Toth trajno briše zaprimljene osobne podatke odmah po prestanku svrhe daljnje komunikacije te da sam upoznat s Politikom zaštite osobnih podataka Mate Totha.

SOUVENIRS

  • MATOTOTH-16
  • MATOTOTH-1
  • MATOTOTH-2
  • MATOTOTH-4
  • MATOTOTH-5
  • MATOTOTH-1

Call or write:

Mato Toth 

Andrije Hebranga 27, 48000 Croatia

+38598/183-3009

info@mato-toth.hr

I agree that Mato Toth collects, stores, uses, and processes my personal information made available here, solely for the purpose of providing an adequate response and I declare that I am acquainted with all rights arising from the protection of personal data, in particular the right to withdraw consent at all times. I hereby acknowledge that in the exercise of my rights I have the right to contact Mato Toth and the Personal Data Protection Agency (AZOP), that Mato Toth permanently deletes the received personal information immediately upon termination of the purpose of further communication and that I am acquainted with the Personal Data Protection Policy data of Mato Toth.