Nude with a jug (Around 1930)

A review from the 1930s excellently describes Hámor's painting as akin to the modern Parisian dream-like works of the French avant-garde painter Marie Laurencin. In particular, in her rendering of the female face, with its emphasis on the eyes and exotic lips, and in her intimate themes and pleasing colour schemes. She was also influenced by the work of János Vaszary, Béla Kádár, József Egry and even Vilmos Aba-Novák (see the characteristic jug next to the nude). In the painting, Hámor is primarily interested in the way light is rendered, starting with patches of broken colour and juxtaposing them in bands. It is as if the light is coming through a prism, which thus divides the space into rays of light in the colours of the rainbow, and even the shadow of the jug is multiplied. The prism breaks the red colour least, and the violet most.