(1880 - 1980)
22 x 18 cm
Aquarelle on paper.
Signed bottom right:
Carla Undi went to the College of Applied Arts and was one of the first to come to Gödöllő on a scholarship. From 1904 she exhibited her embroideries and cushions at exhibitions, and from 1908 with the members of the Gödöllő community. Unlike her sisters, Carla became a permanent member of the artists' colony and was one of the employees of the weaving workshop. It was then that she met the sculptor Ferenc Sidló, with whom she married in the summer of 1911, and in 1912 they moved from Gödöllő to the Artists' Colony at Százados út in Budapest. Her most important exhibitions were in 1909 with the Gödöllő artists at the Műcsarnok (Kunsthalle), and in 1912 with Géza Faragó at the National Salon.
The Undi sisters were one of the "decorator-artists" who emerged around the turn of the century, following the ideal of a synthesis of the arts. They combined Art Nouveau ornamentation and folk art motifs. Their works were inspired by a new approach that brought art closer to the utilitarian object, following the renewed principle of aesthetic functionalism, that what is useful is beautiful. Carla Undi also used folk art motifs and folk customs in her applied and monumental works. In her embroideries, woodcarvings, frescoes, wall hangings or carpets, she typically arranges folk motifs in colour planes enclosed by thick contours.
The same can be said of Carla Undi's landscapes and floral still lifes, which she created using her favourite technique, watercolour. In Spring Flowers (1947), although the contours have thinned in comparison to her early watercolours, they still play a role, as the splashes of colour are sharply delineated and the serpentine lines guide the eye. The unity of the play of lines, the uniform patches of colour enclosed between pure colours and contour lines, the summarising, decorative form, brings Carla Undi's work closer to French Cloisonism (Synthesis), which could be a design for a stained glass window.