{"id":22400,"date":"2022-09-02T11:34:55","date_gmt":"2022-09-02T11:34:55","guid":{"rendered":"https:\/\/fovarosikeptar.hu\/?page_id=22400"},"modified":"2022-09-02T13:00:29","modified_gmt":"2022-09-02T13:00:29","slug":"valogatas-az-1971-parhuzamos-kulonidok-cimu-kiallitas-anyagabol","status":"publish","type":"page","link":"https:\/\/fovarosikeptar.hu\/en\/valogatas-az-1971-parhuzamos-kulonidok-cimu-kiallitas-anyagabol\/","title":{"rendered":"Selection of 1971"},"content":{"rendered":"

[vc_row css_animation=”” row_type=”row” use_row_as_full_screen_section=”no” type=”full_width” angled_section=”no” text_align=”left” background_image_as_pattern=”without_pattern”][vc_column width=”1\/5″][vc_column_text]\"\"<\/a>[\/vc_column_text][\/vc_column][vc_column width=”1\/5″][vc_column_text]\"\"<\/a>[\/vc_column_text][\/vc_column][vc_column width=”1\/5″][vc_column_text]\"\"<\/a>[\/vc_column_text][\/vc_column][vc_column width=”1\/5″][vc_column_text]\"\"<\/a>[\/vc_column_text][\/vc_column][vc_column width=”1\/5″][vc_column_text]\"\"<\/a>[\/vc_column_text][\/vc_column][\/vc_row][vc_row css_animation=”” row_type=”row” use_row_as_full_screen_section=”no” type=”full_width” angled_section=”no” text_align=”left” background_image_as_pattern=”without_pattern”][vc_column width=”1\/5″][vc_column_text]\"\"<\/a>[\/vc_column_text][\/vc_column][vc_column width=”1\/5″][vc_column_text]\"\"<\/a>[\/vc_column_text][\/vc_column][vc_column width=”1\/5″][vc_column_text]\"\"<\/a>[\/vc_column_text][\/vc_column][vc_column width=”1\/5″][vc_column_text]\"\"<\/a>[\/vc_column_text][\/vc_column][vc_column width=”1\/5″][vc_column_text]\"\"<\/a>[\/vc_column_text][\/vc_column][\/vc_row][vc_row css_animation=”” row_type=”row” use_row_as_full_screen_section=”no” type=”full_width” angled_section=”no” text_align=”left” background_image_as_pattern=”without_pattern”][vc_column width=”1\/5″][vc_column_text]\"\"<\/a>[\/vc_column_text][\/vc_column][vc_column width=”1\/5″][vc_column_text]\"\"<\/a>[\/vc_column_text][\/vc_column][vc_column width=”1\/5″][vc_column_text]\"\"<\/a>[\/vc_column_text][\/vc_column][vc_column width=”1\/5″][vc_column_text]\"\"<\/a>[\/vc_column_text][\/vc_column][vc_column width=”1\/5″][vc_column_text]\"\"<\/a>[\/vc_column_text][\/vc_column][\/vc_row][vc_row css_animation=”” row_type=”row” use_row_as_full_screen_section=”no” type=”full_width” angled_section=”no” text_align=”left” background_image_as_pattern=”without_pattern”][vc_column width=”1\/5″][vc_column_text]\"\"<\/a>[\/vc_column_text][\/vc_column][vc_column width=”1\/5″][vc_column_text]\"\"<\/a>[\/vc_column_text][\/vc_column][vc_column width=”1\/5″][vc_column_text]\"\"<\/a>[\/vc_column_text][\/vc_column][vc_column width=”1\/5″][vc_column_text]\"\"<\/a>[\/vc_column_text][\/vc_column][vc_column width=”1\/5″][vc_column_text]\"\"<\/a>[\/vc_column_text][\/vc_column][\/vc_row][vc_row css_animation=”” row_type=”row” use_row_as_full_screen_section=”no” type=”full_width” angled_section=”no” text_align=”left” background_image_as_pattern=”without_pattern”][vc_column width=”1\/5″][vc_column_text]\"\"<\/a>[\/vc_column_text][\/vc_column][vc_column width=”1\/5″][vc_column_text]\"\"<\/a>[\/vc_column_text][\/vc_column][vc_column width=”1\/5″][vc_column_text]\"\"<\/a>[\/vc_column_text][\/vc_column][vc_column width=”1\/5″][vc_column_text]\"\"<\/a>[\/vc_column_text][\/vc_column][vc_column width=”1\/5″][vc_column_text]\"\"<\/a>[\/vc_column_text][\/vc_column][\/vc_row][vc_row css_animation=”” row_type=”row” use_row_as_full_screen_section=”no” type=”full_width” angled_section=”no” text_align=”left” background_image_as_pattern=”without_pattern”][vc_column width=”1\/5″][vc_column_text]\"\"<\/a>[\/vc_column_text][\/vc_column][vc_column width=”1\/5″][\/vc_column][vc_column width=”1\/5″][\/vc_column][vc_column width=”1\/5″][\/vc_column][vc_column width=”1\/5″][\/vc_column][\/vc_row][vc_row css_animation=”” row_type=”row” use_row_as_full_screen_section=”no” type=”full_width” angled_section=”no” text_align=”left” background_image_as_pattern=”without_pattern”][vc_column][vc_separator type=”transparent” up=”20″ down=”20″][\/vc_column][\/vc_row][vc_row css_animation=”” row_type=”row” use_row_as_full_screen_section=”no” type=”full_width” angled_section=”no” text_align=”left” background_image_as_pattern=”without_pattern”][vc_column][vc_separator type=”transparent” up=”20″][vc_column_text]<\/p>\n

J\u00f3zsef Somogyi\u00a0(1916-1993): Model for the L\u00e1szl\u00f3 Medny\u00e1nszky tomb<\/em>, 1965<\/h2>\n

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bronze, height: 23 cm<\/p>\n

[\/vc_column_text][\/vc_column][\/vc_row][vc_row css_animation=”” row_type=”row” use_row_as_full_screen_section=”no” type=”full_width” angled_section=”no” text_align=”left” background_image_as_pattern=”without_pattern”][vc_column width=”1\/4″][\/vc_column][vc_column width=”3\/4″][vc_single_image image=”22160″ img_size=”medium” qode_css_animation=”” el_class=”nagyitas”][\/vc_column][\/vc_row][vc_row css_animation=”” row_type=”row” use_row_as_full_screen_section=”no” type=”full_width” angled_section=”no” text_align=”left” background_image_as_pattern=”without_pattern”][vc_column width=”1\/4″][\/vc_column][vc_column width=”3\/4″][vc_separator type=”transparent” up=”10″ down=”10″][vc_column_text]This model was created for the memorial of Baron L\u00e1szl\u00f3 Medny\u00e1nszky (1852\u20131919), one of the most well-known Hungarian painters. Medny\u00e1nszky gave away the majority of his wealth and lived the life of a pauper. As a vagabond wandering around Europe, he captured the vagrants, the outcasts, and the soldiers bearing the brunt of WWI in his work. His remains were returned from Vienna to Hungary in 1966 where he was granted a grave of honor. Medny\u00e1nszky\u2019s burial was, doubtlessly, an occasion that required the work of the highly demanded sculptor of the time,\u00a0 J\u00f3zsef Somogyi.<\/p>\n

Art historian P\u00e9ter Kov\u00e1cs notes that the model lacks none of the compositional elements of the finished memorial. \u201cThe \u2018front\u2019 of the statue is in fact a profile. Tilting toward the right shoulder, the head marks the starting point of the lines of force of the composition between the gnarled back and the straight staff.\u201d Geometry and non-naturalism, a hallmark of Somogyi\u2019swork during the 1960s, make for a striking composition. The model\u2019s expert realization elevates the workaday genre scene featuring only an artist sitting on the ground and leaning on his staff into a lasting memorial.<\/p>\n

By invoking the artist and the vagrants he portrayed, this statue is a typical example of the \u201cde-heroized monuments\u201d that came to dominate 1960s state commissioned monuments in public space. This was an important facet of cultural strategy during the K\u00e1d\u00e1r era (1957\u20131989). After R\u00e1kosi\u2019s Stalinist regime of the 1950s, the cult of personality was strongly discouraged. Public sculpture in this era was supposed to confront \u201cthe personal dimensions, the \u2018one-of-us-ness\u2019 of common people with propaganda\u2019s impersonality and alienation in monumental proportions\u2019\u201d (art historian Andr\u00e1s R\u00e9nyi).<\/p>\n

Written by Zs\u00f3ka Leposa<\/strong>[\/vc_column_text][\/vc_column][\/vc_row][vc_row css_animation=”” row_type=”row” use_row_as_full_screen_section=”no” type=”full_width” angled_section=”no” text_align=”left” background_image_as_pattern=”without_pattern”][vc_column][vc_separator type=”transparent” up=”20″][vc_column_text]<\/p>\n

Endre Domanovszky (1907-1974): Betrotheds (tapestry design)<\/em>, 1969<\/h2>\n

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oil tempera on paper<\/p>\n

[\/vc_column_text][\/vc_column][\/vc_row][vc_row css_animation=”” row_type=”row” use_row_as_full_screen_section=”no” type=”full_width” angled_section=”no” text_align=”left” background_image_as_pattern=”without_pattern”][vc_column width=”1\/4″][\/vc_column][vc_column width=”3\/4″][vc_single_image image=”22163″ img_size=”medium” qode_css_animation=”” el_class=”nagyitas”][\/vc_column][\/vc_row][vc_row css_animation=”” row_type=”row” use_row_as_full_screen_section=”no” type=”full_width” angled_section=”no” text_align=”left” background_image_as_pattern=”without_pattern”][vc_column width=”1\/4″][\/vc_column][vc_column width=”3\/4″][vc_separator type=”transparent” up=”10″ down=”10″][vc_column_text]According to the archives of the Supervisory Body for Arts and Crafts, work on the Betrotheds started in 1968 and ended in 1972. The tapestry was originally designed for the Duna\u00fajv\u00e1ros Council registrar\u2019s office. The Betrotheds, along with the Tapestry Weavers and the Bathers, was acquired by Vilmos Bertalan for the collection of the Budapest History Museum (BHM) already before being realized. Betrotheds was featured at the 1971 Domanovszky exhibition at the BHM Castle Museum, already as part of the collection, and was also exhibited in 1972 at the Venice Biennale. In his monograph on Domanovszky\u2019s tapestries, Bertalan described both the Betrotheds
\nand the Centenary of the Unification of Budapest as borderline pieces, where the artist attempted to resolve the contradictions between autonomous coloration and monumental figures. Boisterous
\ngestures, says Bertalan, are contained within a rigid rectangular form, and the piece is shot through with radiant colors and dynamism. This analysis falls in line with the narrative
\nof the monograph\u2019s interpretive framework: personal experience giving the works an expressive quality, while invoking 19th-century Hungarian Realism, the so-called Munk\u00e1csy tradition. In socialist art history, citing this tradition, named after the 19th-century painter Mih\u00e1ly Munk\u00e1csy, was a claim for legitimation. Subsequently, even abstract expressiveness could be endorsed when connected to this respected lineage.<\/p>\n

Written by: Enik\u0151 R\u00f3ka<\/strong>[\/vc_column_text][\/vc_column][\/vc_row][vc_row css_animation=”” row_type=”row” use_row_as_full_screen_section=”no” type=”full_width” angled_section=”no” text_align=”left” background_image_as_pattern=”without_pattern”][vc_column][vc_separator type=”transparent” up=”20″][vc_column_text]<\/p>\n

Andr\u00e1s Kiss Nagy (1930-1997): Memento I.<\/em>, 1972<\/h2>\n

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bronze<\/p>\n

[\/vc_column_text][\/vc_column][\/vc_row][vc_row css_animation=”” row_type=”row” use_row_as_full_screen_section=”no” type=”full_width” angled_section=”no” text_align=”left” background_image_as_pattern=”without_pattern”][vc_column width=”1\/4″][\/vc_column][vc_column width=”3\/4″][vc_single_image image=”22368″ img_size=”medium” qode_css_animation=”” el_class=”nagyitas”][\/vc_column][\/vc_row][vc_row css_animation=”” row_type=”row” use_row_as_full_screen_section=”no” type=”full_width” angled_section=”no” text_align=”left” background_image_as_pattern=”without_pattern”][vc_column width=”1\/4″][\/vc_column][vc_column width=”3\/4″][vc_separator type=”transparent” up=”10″ down=”10″][vc_column_text]This statuette\u2019s concept was initially developed for a 1972 public sculpture contest marking the 1000th anniversary of the city of Sz\u00e9kesfeh\u00e9rv\u00e1r. The local City Council announced a competition for the design of a historical memorial to the Golden Bull of 1222. Andr\u00e1s Nagy Kiss almost exclusively dedicated his art to the human figure. As an experienced public sculptor, he was aware, however, that the closed sculptural style and condensed composition typical of his statuettes would have been disadvantageous if applied to a figure enlarged to monumental scale. Instead, Kiss Nagy drafted a clearly outlined, easily recognizable shape: a 5-meter long sword\u2014the instrument of the legislature and the executive\u2014thrust into the ground, symbolizing the end of warfare. Although the memorial was never erected in a monumental form, the artist did cast it in bronze. Kiss Nagy\u2019s Memento I was exhibited at the 1972 Venice Biennale beside other sculptures by the artist, as well as tapestries and paintings by Endre Domanovszky. In 1977, Memento I was purchased for the Budapest History Museum\u2019s art collection.<\/p>\n

Written by\u00a0<\/strong>Zs\u00f3ka <\/strong>Leposa\u00a0<\/strong>[\/vc_column_text][\/vc_column][\/vc_row][vc_row css_animation=”” row_type=”row” use_row_as_full_screen_section=”no” type=”full_width” angled_section=”no” text_align=”left” background_image_as_pattern=”without_pattern”][vc_column][vc_separator type=”transparent” up=”20″][vc_column_text]<\/p>\n

Tibor Vilt (1905-1983): Categories I.<\/em>, 1966<\/h2>\n

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bronze<\/p>\n

[\/vc_column_text][\/vc_column][\/vc_row][vc_row css_animation=”” row_type=”row” use_row_as_full_screen_section=”no” type=”full_width” angled_section=”no” text_align=”left” background_image_as_pattern=”without_pattern”][vc_column width=”1\/4″][\/vc_column][vc_column width=”3\/4″][vc_single_image image=”22169″ img_size=”medium” qode_css_animation=”” el_class=”nagyitas”][\/vc_column][\/vc_row][vc_row css_animation=”” row_type=”row” use_row_as_full_screen_section=”no” type=”full_width” angled_section=”no” text_align=”left” background_image_as_pattern=”without_pattern”][vc_column width=”1\/4″][\/vc_column][vc_column width=”3\/4″][vc_separator type=”transparent” up=”10″ down=”10″][vc_column_text]Tibor Vilt began his career during the late 1920s as a student of Lajos M\u00e1trai and Zsigmond Strobl Kisfaludi. After 1945, his works primarily depicted the traumas of the war. Throughout
\nthe next two decades, he became a highly sought-after artist, receiving numerous public art commissions and participating in both solo and group shows. Despite his popularity, Vilt\u2019s innovative, unconventional, modern sculptural solutions made adversaries in several state committees. The official stance on his art was not totally affirmative. From the 1960s, a new approach to space\/mass served as the basis of his sculptural practice\u2014more emphasis was attributed to theatricality and closed modelling. At the 1968 Venice Biennale, besides five large-scale sculptures, many statuettes and reliefs, Vilt also exhibited two new monumental sculptures (Dovecote and Greetings to Venice) created particularly for the exhibition. As part of the Municipal Gallery\u2019s collection, the statuette Categories is the artist\u2019s emblematic work from the period. With its composition halfway between figurative and abstract, the piece was included in the Venice Biennale exhibition catalog of the Hungarian Pavilion. In 1970, the piece was realized as a three-meter tall plaster cast as well, which Vilt displayed at his solo exhibition at M\u0171csarnok\/Kunsthalle Budapest.<\/p>\n

Written by Kinga B\u00f3di and D\u00f3ra Hegyi <\/strong>[\/vc_column_text][\/vc_column][\/vc_row][vc_row css_animation=”” row_type=”row” use_row_as_full_screen_section=”no” type=”full_width” angled_section=”no” text_align=”left” background_image_as_pattern=”without_pattern”][vc_column][vc_separator type=”transparent” up=”20″][vc_column_text]<\/p>\n

Ign\u00e1c Kokas (1926-2009): Cemetery in Kaj\u00e1sz\u00f3<\/em>, 1968<\/h2>\n

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oil on canvas<\/p>\n

[\/vc_column_text][\/vc_column][\/vc_row][vc_row css_animation=”” row_type=”row” use_row_as_full_screen_section=”no” type=”full_width” angled_section=”no” text_align=”left” background_image_as_pattern=”without_pattern”][vc_column width=”1\/4″][\/vc_column][vc_column width=”3\/4″][vc_single_image image=”22175″ img_size=”medium” qode_css_animation=”” el_class=”nagyitas”][\/vc_column][\/vc_row][vc_row css_animation=”” row_type=”row” use_row_as_full_screen_section=”no” type=”full_width” angled_section=”no” text_align=”left” background_image_as_pattern=”without_pattern”][vc_column width=”1\/4″][\/vc_column][vc_column width=”3\/4″][vc_separator type=”transparent” up=”10″ down=”10″][vc_column_text]At the Academy of Fine Arts, Ign\u00e1c Kokas was a student of J\u00e1nos Kmetty and Aur\u00e9l Bern\u00e1th. His 1952 graduation piece, the painting titled Carpenter represented a unique approach to socialist realist art. Kokas frequently visited V\u00e1l, his home village, and made paintings inspired by the local landscape. By the mid-1960s, he had established a singular painterly language, first recognized by G\u00e9za Csorba, whose main task at the Ministry was to foster the artists\u2019 international network and organize international exhibitions. Csorba discovered Kokas in a state-financed purchase of artworks organized by the Art Fund of the Hungarian Peoples\u2019s Republic. By 1968, the Ministry purchased several artworks from Kokas, and exhibited them at the 1968 Venice Biennale, together with the artist\u2019s recent studio works. The painting Cemetery in Kaj\u00e1sz\u00f3 belongs to his so-called green period, when he primarily produced semi-abstract landscapes painted with dark-green, brown, and black, mostly with no human figures. Here, Kokas depicted the Jewish cemetery of Kaj\u00e1sz\u00f3, a neighboring village of his home town.<\/p>\n

Written by D\u00f3ra Hegyi<\/strong>[\/vc_column_text][\/vc_column][\/vc_row][vc_row css_animation=”” row_type=”row” use_row_as_full_screen_section=”no” type=”full_width” angled_section=”no” text_align=”left” background_image_as_pattern=”without_pattern”][vc_column][vc_separator type=”transparent” up=”20″][vc_column_text]<\/p>\n

Dezs\u0151 Korniss (1908-1984): Calligraphy I.<\/em>, 1968<\/h2>\n

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ink on paper<\/p>\n

[\/vc_column_text][\/vc_column][\/vc_row][vc_row css_animation=”” row_type=”row” use_row_as_full_screen_section=”no” type=”full_width” angled_section=”no” text_align=”left” background_image_as_pattern=”without_pattern”][vc_column width=”1\/2″][vc_single_image image=”22182″ img_size=”medium” qode_css_animation=”” el_class=”nagyitas”][\/vc_column][vc_column width=”1\/2″][vc_single_image image=”22371″ img_size=”medium” qode_css_animation=”” el_class=”nagyitas”][\/vc_column][\/vc_row][vc_row css_animation=”” row_type=”row” use_row_as_full_screen_section=”no” type=”full_width” angled_section=”no” text_align=”left” background_image_as_pattern=”without_pattern”][vc_column width=”1\/4″][\/vc_column][vc_column width=”3\/4″][vc_separator type=”transparent” up=”10″ down=”10″][vc_column_text]Dezs\u0151 Korniss, an artist from the older generation, was an important representative of modernism for the young artists, who started their career in the 1960s, especially, as Korniss himself was open for new tendencies and mutual exchange. He was a former member of the\u00a0 Eur\u00f3pai Iskola (European School, 1945\u201348), a group of artists who came together after the end of WWII, to reconnect with European modern art. Most of them were interested in abstract art. The group was prohibited and abstract art banned from 1949, when the socialist realist doctrine in art was introduced and artists associated with other tendencies were prohibited. After the 1956 revolution, the political thaw had also consequences for culture. In the famous Tavaszi T\u00e1rlat (Spring Salon) organized at the M\u0171csarnok\/Kunsthalle Budapest, abstract tendencies could appear again and Dezs\u0151 Korniss led the jury for the selection of abstract artists. From the 1960s, Korniss exhibited together with the younger generation, organized exhibitions for them in clubs and participated in their shows himself. He was the only one from the older generation who, hearing about the project, sent his work voluntarily to L\u00e1szl\u00f3 Beke\u2019s Elk\u00e9pzel\u00e9s (Imagination) call.<\/p>\n

Korniss started to paint his so-called calligraphies in 1958 and in the following three years, intensively experimented with the dropped paint technique on long landscape format canvasses, resulting in works reminiscent of abstract scripts. He returned to calligraphy a decade later. Calligraphy I and Calligraphy III are brush painted with china ink on paper, but here the artist followed more the meditative Far East tradition of ink brush letter writing, instead of action\u00a0 painting as in the earlier works.<\/p>\n

Written by D\u00f3ra Hegyi<\/strong>[\/vc_column_text][\/vc_column][\/vc_row][vc_row css_animation=”” row_type=”row” use_row_as_full_screen_section=”no” type=”full_width” angled_section=”no” text_align=”left” background_image_as_pattern=”without_pattern”][vc_column][vc_separator type=”transparent” up=”20″][vc_column_text]<\/p>\n

Lili Orsz\u00e1g (1926-1978): Pompei,<\/em> 1969<\/h2>\n

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oil on plywood<\/p>\n

[\/vc_column_text][\/vc_column][\/vc_row][vc_row css_animation=”” row_type=”row” use_row_as_full_screen_section=”no” type=”full_width” angled_section=”no” text_align=”left” background_image_as_pattern=”without_pattern”][vc_column width=”1\/4″][\/vc_column][vc_column width=”3\/4″][vc_single_image image=”22185″ img_size=”medium” qode_css_animation=”” el_class=”nagyitas”][\/vc_column][\/vc_row][vc_row css_animation=”” row_type=”row” use_row_as_full_screen_section=”no” type=”full_width” angled_section=”no” text_align=”left” background_image_as_pattern=”without_pattern”][vc_column width=”1\/4″][\/vc_column][vc_column width=”3\/4″][vc_separator type=”transparent” up=”10″ down=”10″][vc_column_text]Lili Orsz\u00e1g brought a new voice to post-World War II Hungarian painting. She studied under Istv\u00e1n Sz\u0151nyi at the Hungarian Academy of Fine Arts, Budapest. From 1950, throughout almost her entire life, she was employed by the State Puppet Theatre\u2019s scenography studio. Avoiding neo-avantgarde circles, she maintained ties to previous generations, among them members of the group Eur\u00f3pai Iskola (European School, 1945\u201348). Her style was first influenced by surrealism, but a different tradition helped her find her own voice. The two leitmotivs of her oeuvre are history and memory. It was during the 1960s that relationships to the past rose to preeminence in the so-called townscape and scriptural works\u2014these were crucial in establishing her style. When asked by a journalist about her first solo show, a 1966 exhibition at a private gallery in Israel, the artist labeled her work as symbolic abstraction. From 1968 to 1974, she visited Italy five times. Her 1969 painting Pompei, shown at a Rome exhibition of townscape and scriptural artworks that very year, was inspired by a mosaic remnant seen on a house wall in Herculaneum. The worn-down surface of the stones and their patterns, resembling the topology of a city, must have interested her to the point that she took apart what she saw and mapped the shapes with bold contours. She tried to capture both the past still present and the passage of time. She set out to trace each and every minute and erratic moment of time\u2014counterbalances to a carefully ordered system. The tension between the systematic traces of a civilization and their barely discernible visual remains translate finely into Pompei.<\/p>\n

Written by M\u00e1ria \u00c1rvai<\/strong>[\/vc_column_text][\/vc_column][\/vc_row][vc_row css_animation=”” row_type=”row” use_row_as_full_screen_section=”no” type=”full_width” angled_section=”no” text_align=”left” background_image_as_pattern=”without_pattern”][vc_column][vc_separator type=”transparent” up=”20″][vc_column_text]<\/p>\n

Endre B\u00e1lint (1914-1986): Dying red<\/em>, 1969<\/h2>\n

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monotype, oil on paper<\/p>\n

[\/vc_column_text][\/vc_column][\/vc_row][vc_row css_animation=”” row_type=”row” use_row_as_full_screen_section=”no” type=”full_width” angled_section=”no” text_align=”left” background_image_as_pattern=”without_pattern”][vc_column width=”1\/4″][\/vc_column][vc_column width=”3\/4″][vc_single_image image=”22188″ img_size=”medium” qode_css_animation=”” el_class=”nagyitas”][\/vc_column][\/vc_row][vc_row css_animation=”” row_type=”row” use_row_as_full_screen_section=”no” type=”full_width” angled_section=”no” text_align=”left” background_image_as_pattern=”without_pattern”][vc_column width=”1\/4″][\/vc_column][vc_column width=”3\/4″][vc_separator type=”transparent” up=”10″ down=”10″][vc_column_text]Endre B\u00e1lint belonged to the group of modern artists (B\u00e9la Iv\u00e1nyi-Gr\u00fcnwald, Jen\u0151 Barcsay, Dezs\u0151 Korniss, Lajos Vajda among others), who worked in the interwar period in Szentendre, a picturesque town on the Danube, not far from Budapest. He was among the founders of the postwar artist group Eur\u00f3pai Iskola (European School), active between 1945 and 1948, who stated their belonging to a European tradition of modernism. B\u00e1lint\u2019s art was influenced and close to surrealism and his paintings filled with enigmatic, symbolic, dreamlike figures were typical during his whole artistic career. To earn his living, he also worked as a poster and stage designer and was a regular contributor with art reviews to the daily N\u00e9pszava. From 1957, B\u00e1lint lived for five years in Paris and when he returned to Hungary he was a favored artist of the influential cultural politician of the time, Gy\u00f6rgy Acz\u00e9l (which mainly had personal reasons, as they were raised in the same charity school) and though he was not socialist in his topics, he regularly exhibited in museums and galleries. In 1970, he spent six weeks in Italy on a state-supported study journey, which he had received as a compensation for not having been chosen to represent Hungary at the Venice Biennale together with Gyula Hincz (though he did not mind avoiding to exhibit alongside the system-conform artist). While he did not keep close relation to the youngest neo-avantgarde generation, he stated that based on his avantgarde experiences he was aware of the new art tendencies. On the quadratic canvas, a red scull or mask is emerging from a deep black background with both colors exposing layered textures. The expressive title Dying Red might also refer to B\u00e1lint\u2019s chronical lung-disease, which he suffered from throughout his whole life from his teens.<\/p>\n

Written by D\u00f3ra Hegyi<\/strong>[\/vc_column_text][\/vc_column][\/vc_row][vc_row css_animation=”” row_type=”row” use_row_as_full_screen_section=”no” type=”full_width” angled_section=”no” text_align=”left” background_image_as_pattern=”without_pattern”][vc_column][vc_separator type=”transparent” up=”20″][vc_column_text]<\/p>\n

Gy\u00f6rgy Jov\u00e1novics (1939): Detail of Le Grand Gilles<\/em>, 1967-68<\/h2>\n

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plaster<\/p>\n

[\/vc_column_text][\/vc_column][\/vc_row][vc_row css_animation=”” row_type=”row” use_row_as_full_screen_section=”no” type=”full_width” angled_section=”no” text_align=”left” background_image_as_pattern=”without_pattern”][vc_column width=”1\/4″][\/vc_column][vc_column width=”3\/4″][vc_single_image image=”22191″ img_size=”medium” qode_css_animation=”” el_class=”nagyitas”][\/vc_column][\/vc_row][vc_row css_animation=”” row_type=”row” use_row_as_full_screen_section=”no” type=”full_width” angled_section=”no” text_align=”left” background_image_as_pattern=”without_pattern”][vc_column width=”1\/4″][\/vc_column][vc_column width=”3\/4″][vc_separator type=”transparent” up=”10″ down=”10″][vc_column_text]\u201cGy\u00f6rgy Jov\u00e1novics\u2019s sculptural work represents the radical change in the object-forming art of the 1960s that we might call \u2018post-abstraction\u2019. While on the one hand, there is a radical attempt to undo the object and eliminate materiality in order to create primarily intellectual products; on the other hand, we also see the appearance of the new object, which is seemingly just as material as the former artwork. Yet, it also acts as an energy source for mental (intellectual, conceptual) frames of reference. It is a conceptual object. Jov\u00e1novics basically creates classic sculpture by using a number of anti-sculptural principles.\u201d (L\u00e1szl\u00f3 Beke)<\/p>\n

In the late-1960s, Gy\u00f6rgy Jov\u00e1novics was an organizer of the two Iparterv exhibitions (1968, 1969), on view at the IPARTERV architectural office\u2019s building. The Detail of Le Grand Gilles was probably the most mysterious work displayed at the first of these exhibitions. The title refers to rococo painter Jean-Antoine Watteau\u2019s famous painting of Gilles\/Pierrot, the sad clown in a white dress. The sculptor constructed a torso lacking both feet and upper body; it is neither a human figure, nor a mere drape, but rather the imprint of something vaguely human. The sculpture is simultaneously heroic, ironic, and self-deprecating\u2014a peculiar mixture of history, memory, and myth. This iconic masterpiece of the era entered the Municipal Gallery\u2019s collection in 1993 as part of the post-socialist canonization of neo-avantgarde art.<\/p>\n

Written by Zs\u00f3ka Leposa<\/strong>[\/vc_column_text][\/vc_column][\/vc_row][vc_row css_animation=”” row_type=”row” use_row_as_full_screen_section=”no” type=”full_width” angled_section=”no” text_align=”left” background_image_as_pattern=”without_pattern”][vc_column][vc_separator type=”transparent” up=”20″][vc_column_text]<\/p>\n

Ilona Keser\u00fc (1933): Form 3.<\/em>, 1969<\/h2>\n

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oil, applications on shaped canvas<\/p>\n

[\/vc_column_text][\/vc_column][\/vc_row][vc_row css_animation=”” row_type=”row” use_row_as_full_screen_section=”no” type=”full_width” angled_section=”no” text_align=”left” background_image_as_pattern=”without_pattern”][vc_column width=”1\/4″][\/vc_column][vc_column width=”3\/4″][vc_single_image image=”22194″ img_size=”medium” qode_css_animation=”” el_class=”nagyitas”][\/vc_column][\/vc_row][vc_row css_animation=”” row_type=”row” use_row_as_full_screen_section=”no” type=”full_width” angled_section=”no” text_align=”left” background_image_as_pattern=”without_pattern”][vc_column width=”1\/4″][\/vc_column][vc_column width=”3\/4″][vc_separator type=”transparent” up=”10″ down=”10″][vc_column_text]Ilona Keser\u00fc was a student of Ferenc Martyn in P\u00e9cs, and she graduated from the Hungarian Academy of Fine Arts, Budapest, in the class of Istv\u00e1n Sz\u0151nyi, in 1958. In the first half of the 1960s \u2014 mostly under the influence of Martyn \u2014 she painted abstract paintings and her visit to Italy in 1962\u201363 had a decisive impact on her art. By the end of the decade, her work became dominated by plastic forms and the use of the colors ocher, orange, and pink. The heart-shaped gravestones of the 19th-century cemetery in Balatonudvari in Hungary, which Keser\u00fc discovered in 1967, became recurring motifs in her art. The wavy, baroque forms often appear as horizontal and vertical stripes that divide the image into sections. Keser\u00fc was an active participant in the decisive exhibitions of her generation, including Iparterv I\u2013II and Mozg\u00e1s \u201970 (Movement 1970) that showcased nonfigurative artists. Although she was not allowed to travel to Western Europe for a long time after her stay in Italy, her works were regularly exhibited abroad. In 1969, together with J\u00e1nos Major and Istv\u00e1n Bencsik, she organized a self-financed exhibition at the F\u00e9nyes Adolf Showroom in Budapest. This is where she first presented the organic forms of embossed canvas that also evoke intimate areas of the female body. With regard to these works, however, art historians as well as Keser\u00fc herself put the emphasis on abstraction and the use of materials. The titles do not allude to the content either, as exemplified by Form 3. According to art historian Katalin Aknai, \u201cthe embarrassment generated by the representation of a stylized female sexual organ \u2018on public display,\u2019 i.e. the impossibility of description, sheds light on the non-assimilable and problematic nature of gender differences in Hungarian art history.\u201d<\/p>\n

Written by D\u00f3ra Hegyi <\/strong>[\/vc_column_text][\/vc_column][\/vc_row][vc_row css_animation=”” row_type=”row” use_row_as_full_screen_section=”no” type=”full_width” angled_section=”no” text_align=”left” background_image_as_pattern=”without_pattern”][vc_column][vc_separator type=”transparent” up=”20″][vc_column_text]<\/p>\n

Imre Bak (1939): Bright II.<\/em>, 1970<\/h2>\n

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acrylic on canvas<\/p>\n

[\/vc_column_text][\/vc_column][\/vc_row][vc_row css_animation=”” row_type=”row” use_row_as_full_screen_section=”no” type=”full_width” angled_section=”no” text_align=”left” background_image_as_pattern=”without_pattern”][vc_column width=”1\/4″][\/vc_column][vc_column width=”3\/4″][vc_single_image image=”22197″ img_size=”medium” qode_css_animation=”” el_class=”nagyitas”][\/vc_column][\/vc_row][vc_row css_animation=”” row_type=”row” use_row_as_full_screen_section=”no” type=”full_width” angled_section=”no” text_align=”left” background_image_as_pattern=”without_pattern”][vc_column width=”1\/4″][\/vc_column][vc_column width=”3\/4″][vc_separator type=”transparent” up=”10″ down=”10″][vc_column_text]Beyond the walls of the Academy, Imre Bak, Istv\u00e1n N\u00e1dler, P\u00e1l Deim, and others regularly visited the Zugl\u00f3i K\u00f6r (Zugl\u00f3i Circle, 1958\u20131968). The group came together in painter S\u00e1ndor Moln\u00e1r\u2019s apartment in the Zugl\u00f3 district of Budapest to study non-figurative art and extensively read essays translated to Hungarian on theoretical subjects ranging from Bauhaus traditions to Op art. The circle also sought contact with living members of the earlier group Eur\u00f3pai Iskola (European School, 1945\u201348), such as Dezs\u0151 Korniss, Tam\u00e1s Lossonczy, and Tiham\u00e9r Gyarmathy. These artists\u2019 work, which among others, was informed by folk art and Hungarian traditions, deeply influenced the young artists. Bak took part in the circle\u2019s debut show titled \u00daj t\u00f6rekv\u00e9sek (New Aspirations) in 1966, which was later banned. He also participated in a 1968 exhibition of emerging and established non-figurative artists at the V\u00e1s\u00e1rhelyi P\u00e1l Club of the Budapest University of Technology, organized by Dezs\u0151 Korniss. He participated in both Iparterv exhibitions and in the P\u00e9cs show Mozg\u00e1s \u201970, which was also shut down. Early in his career, he submitted entries to national exhibitions and to studio shows highlighting young artists, while also organizing and financing his own solo shows. Perceptive as he was, and having made journeys abroad early on, he received a scholarship from the Folkwang Museum Essen (along with Gy\u00f6rgy Jov\u00e1novics) in 1971. He sent a reproduction of his floor to ceiling painting installation from the Essen show to L\u00e1szl\u00f3 Beke\u2019s Imagination project. Beside his Hard edge paintings, for a short time, he created conceptual artworks in the 1970s that decomposed painterly elements into words.<\/p>\n

Written by D\u00f3ra Hegyi<\/strong>[\/vc_column_text][\/vc_column][\/vc_row][vc_row css_animation=”” row_type=”row” use_row_as_full_screen_section=”no” type=”full_width” angled_section=”no” text_align=”left” background_image_as_pattern=”without_pattern”][vc_column][vc_separator type=”transparent” up=”20″][vc_column_text]<\/p>\n

L\u00e1szl\u00f3 Lakner (1936): Fur Coat<\/em>, 1970<\/h2>\n

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oil on canvas<\/p>\n

[\/vc_column_text][\/vc_column][\/vc_row][vc_row css_animation=”” row_type=”row” use_row_as_full_screen_section=”no” type=”full_width” angled_section=”no” text_align=”left” background_image_as_pattern=”without_pattern”][vc_column width=”1\/4″][\/vc_column][vc_column width=”3\/4″][vc_single_image image=”22200″ img_size=”medium” qode_css_animation=”” el_class=”nagyitas”][\/vc_column][\/vc_row][vc_row css_animation=”” row_type=”row” use_row_as_full_screen_section=”no” type=”full_width” angled_section=”no” text_align=”left” background_image_as_pattern=”without_pattern”][vc_column width=”1\/4″][\/vc_column][vc_column width=”3\/4″][vc_separator type=”transparent” up=”10″ down=”10″][vc_column_text]Between 1970 and 1974 L\u00e1szl\u00f3 Lakner produced a significant series of photorealistic paintings, which he refers to as Collected Documents. He amassed these documents (postcards, archive photos, lettercards, manuscripts) and then painted them in monumental proportions, thereby contemplating social and historical dilemmas. Fur Coat, a painting of an inventory card from the Museum of Ethnography, Budapest, was originally intended for an eight-piece series, out of which only two came to be realized: Fur Coat and Coif. According to Lakner, these works were less an attempt to follow in the footsteps of B\u00e9la Bart\u00f3k\u2019s folk song collection and more to engage in a dialogue with artists of the Iparterv generation, who made use of folk art motifs in their abstract, constructivist work. This piece explores the possibilities of thematizing national identity, local traditions\u2019 survival (or in fact disappearance), their sustainability (or in fact unsustainability). Fur Coat simultaneously examines the process of musealization. Institutional critique is thus inherent in the work. The inventory card is a recurring motive not only in Lakner\u2019s work, but also in the era\u2019s conceptual art (\u201cdocumentation of the imagination,\u201d as art historian L\u00e1szl\u00f3 Beke put it in 1971). As a conceptual framework, the inventory card subverts the documents and objects\u2019 status as ready-mades: in both paintings, by contrast to the sensuously painted objects, the inventory card functions as a pair of ironic quotation marks.<\/p>\n

Written by D\u00e1vid Feh\u00e9r<\/strong>[\/vc_column_text][\/vc_column][\/vc_row][vc_row css_animation=”” row_type=”row” use_row_as_full_screen_section=”no” type=”full_width” angled_section=”no” text_align=”left” background_image_as_pattern=”without_pattern”][vc_column][vc_separator type=”transparent” up=”20″][vc_column_text]<\/p>\n

Jen\u0151 Ker\u00e9nyi (1908-1975): D\u00f3zsa,<\/em> 1971<\/h2>\n

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bronze<\/p>\n

[\/vc_column_text][\/vc_column][\/vc_row][vc_row css_animation=”” row_type=”row” use_row_as_full_screen_section=”no” type=”full_width” angled_section=”no” text_align=”left” background_image_as_pattern=”without_pattern”][vc_column width=”1\/4″][\/vc_column][vc_column width=”3\/4″][vc_single_image image=”22378″ img_size=”medium” qode_css_animation=”” el_class=”nagyitas”][\/vc_column][\/vc_row][vc_row css_animation=”” row_type=”row” use_row_as_full_screen_section=”no” type=”full_width” angled_section=”no” text_align=”left” background_image_as_pattern=”without_pattern”][vc_column width=”1\/4″][\/vc_column][vc_column width=”3\/4″][vc_separator type=”transparent” up=”10″ down=”10″][vc_column_text]The statue portrays a famous Hungarian historical figure in a decidedly unheroic manner. Gy\u00f6rgy D\u00f3zsa was the leader of the 1514 peasants\u2019 revolt. Initially, as a response to Ottoman expansion, a \u201cpeasant army\u201d was gathered with a crusade in mind. Yet, the violence instead turned against the landlords that gathered the peasant army, and the rebellion ended with the ravaging of manors and the killing of noblemen. In the wake of the downfall of the revolt, the brutal execution of D\u00f3zsa was meant to act as a deterrent: legend has it that he had to wear a heated iron crown and, while still alive, was fed to fellow rebels. A considerable change occurred in the interpretation of these events during the 20th century. The peasants\u2019 revolt was first appropriated by the post-1945 communist leadership and then, by the cultural policy of the K\u00e1d\u00e1r era. The event was now seen as a revolutionary episode in the class struggle, while Gy\u00f6rgy D\u00f3zsa\u2019s \u201cfigure was hailed as a hero of social progress, whose commemoration meant honoring the legacy of the struggle and suffering of the people\u201d (Gabriella Erd\u00e9lyi). In 1972, on the occasion of the 500th anniversary of D\u00f3zsa\u2019s alleged year of birth, the Party announced spectacular memorial events. This is how Jen\u0151 Ker\u00e9nyi\u2019s D\u00f3zsa statue came to be\u2014though with a complete lack of pathos. The iron crown is hardly noticeable, the chains on his hands are but wrinkles on his clothes. Although the figure is standing tall, surrender and acquiescence loom over it. Ker\u00e9nyi captures neither the pathos of the historical figure nor the horror of the bestial execution, but rather the feelings of a man staring death in the eye.<\/p>\n

Written by Zs\u00f3ka Leposa<\/strong>[\/vc_column_text][\/vc_column][\/vc_row][vc_row css_animation=”” row_type=”row” use_row_as_full_screen_section=”no” type=”full_width” angled_section=”no” text_align=”left” background_image_as_pattern=”without_pattern”][vc_column][vc_separator type=”transparent” up=”20″][vc_column_text]<\/p>\n

Aur\u00e9l Bern\u00e1th (1895-1982): Workers’ power,<\/em> 1969<\/h2>\n

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tempera on plywood<\/p>\n

[\/vc_column_text][\/vc_column][\/vc_row][vc_row css_animation=”” row_type=”row” use_row_as_full_screen_section=”no” type=”full_width” angled_section=”no” text_align=”left” background_image_as_pattern=”without_pattern”][vc_column width=”1\/4″][\/vc_column][vc_column width=”3\/4″][vc_single_image image=”22203″ img_size=”medium” qode_css_animation=”” el_class=”nagyitas”][\/vc_column][\/vc_row][vc_row css_animation=”” row_type=”row” use_row_as_full_screen_section=”no” type=”full_width” angled_section=”no” text_align=”left” background_image_as_pattern=”without_pattern”][vc_column width=”1\/4″][\/vc_column][vc_column width=”3\/4″][vc_separator type=”transparent” up=”10″ down=”10″][vc_column_text]In 1968, Aur\u00e9l Bern\u00e1th was commissioned to design a largescale wall painting for the Budapest J\u00e1szai Mari Square headquarters of the Central Committee of the Hungarian Socialist Workers Party. The earliest known sketches of the design suggest that, initially, Bern\u00e1th had planned to arrange the figures into a single-layer composition. On this 1969 tempera draft, however, he had already applied the three-layered composition later employed on the realized secco as well. The arrangement of the figures and the objects also matches the final mural.<\/p>\n

The completed wall painting was unveiled in 1972, on the occasion of the General Secretary of the Hungarian Socialist Worker\u2019s Party, J\u00e1nos K\u00e1d\u00e1r\u2019s, 60th birthday. On the lower part of the mural (and this sketch), Bern\u00e1th depicts an apparent scene of construction. A closer look however reveals that instead of working, the figures hang around only pretending to be busy. The middle layer is primarily occupied by the audience, where a speaker delivers his speech from behind a table on the right. Behind the sitting figures, we catch an indistinct glimpse of a modern city. Bern\u00e1th filled the upper stripe with clouds rolling through the sky. While faces on the draft are not well-detailed, on the final mural, Bern\u00e1th featured important writers and artists of the time (Tibor D\u00e9ry, B\u00e9ni Ferenczy, P\u00e1l P\u00e1tzay, Istv\u00e1n Sz\u0151nyi, Gyula Illy\u00e9s) and even himself. Moreover, J\u00e1nos K\u00e1d\u00e1r is playing chess at a table on the left of the middle layer, while the era\u2019s most influential cultural politician Gy\u00f6rgy Acz\u00e9l, observes the game, leaning against a wall. In 1973, the Publishing Company of the Fine Art Fund released a book with art historian Katalin D\u00e1vid\u2019s introduction to Bern\u00e1th\u2019s Workers\u2019 Power and his fresco entitled History. Since D\u00e1vid\u2019s article, many essays have examined the mural and debated whether it is an idealistic or ironic account of the K\u00e1d\u00e1r regime. While one reading interprets the figures\u2019 idyllic contemplation as a fond representation of the soft dictatorship\u2019s society, the other claims that by depicting the passivity of the workers and the tutoring of the intelligentsia Bern\u00e1th was, in fact, mocking the regime.<\/p>\n

The mural\u2019s inherent ambiguity is not as apparent in the draft. The promising sketch was purchased when it was on view at the \u00daj m\u0171vek (New Works) exhibition at the M\u0171csarnok\/Kunsthalle Budapest in 1971\u2014before the secco was ever unveiled in the headquarters\u2014by Vilmos Bertalan, head of the Modern Department at the Budapest History Museum, for the museum\u2019s collection. A year later, the Budapest History Museum organized an Aur\u00e9l Bern\u00e1th oeuvre exhibition at its Buda Castle exhibition space, the vernissage of which was also attended by J\u00e1nos K\u00e1d\u00e1r himself.<\/p>\n

\u00cdrta: Enik\u0151 R\u00f3ka <\/strong>[\/vc_column_text][\/vc_column][\/vc_row][vc_row css_animation=”” row_type=”row” use_row_as_full_screen_section=”no” type=”full_width” angled_section=”no” text_align=”left” background_image_as_pattern=”without_pattern”][vc_column][vc_separator type=”transparent” up=”20″][vc_column_text]<\/p>\n

Kondor B\u00e9la (1931-1972): A szentek bevonul\u00e1sa a v\u00e1rosba<\/em>, 1971-72<\/h2>\n

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olaj, v\u00e1szon<\/p>\n

[\/vc_column_text][\/vc_column][\/vc_row][vc_row css_animation=”” row_type=”row” use_row_as_full_screen_section=”no” type=”full_width” angled_section=”no” text_align=”left” background_image_as_pattern=”without_pattern”][vc_column width=”1\/4″][\/vc_column][vc_column width=”3\/4″][vc_single_image image=”22209″ img_size=”medium” qode_css_animation=”” el_class=”nagyitas”][\/vc_column][\/vc_row][vc_row css_animation=”” row_type=”row” use_row_as_full_screen_section=”no” type=”full_width” angled_section=”no” text_align=”left” background_image_as_pattern=”without_pattern”][vc_column width=”1\/4″][\/vc_column][vc_column width=”3\/4″][vc_separator type=”transparent” up=”10″ down=”10″][vc_column_text]Kondor B\u00e9la egyik utols\u00f3 f\u0151m\u0171ve egyenes folytat\u00e1sa a hatvanas \u00e9vek v\u00e9g\u00e9n teremtett foltritmusokb\u00f3l \u00e9p\u00edtkez\u0151 st\u00edlus\u00e1nak. Jelent\u00e9se csupa rejt\u00e9ly: felvonul\u00f3 figur\u00e1it lehet karnev\u00e1li csoportk\u00e9nt \u00e9rtelmezni, de lehet \u0151ket a szenteknek a mennyorsz\u00e1g kapuj\u00e1hoz vonul\u00f3 menetek\u00e9nt is l\u00e1tni. A k\u00e9p sark\u00e1ban szerepl\u0151 felirat: The saints are goin\u2019\u2026 (mely a When the Saints Go Marching In\u2026 spiritu\u00e1l\u00e9ra utal) mindk\u00e9t \u00e9rtelmez\u00e9st megengedi.<\/p>\n

Kev\u00e9sb\u00e9 ismert, hogy A szentek bevonul\u00e1sa a v\u00e1rosba eredetileg gobelin lett volna, \u00e9s 1971 m\u00e1rcius\u00e1ban a Magyar Kereskedelmi Kamara Kossuth t\u00e9ri sz\u00e9kh\u00e1z\u00e1ba, az eln\u00f6ki tan\u00e1csterem d\u00edsz\u00e9\u00fcl rendelt\u00e9k meg. Kondor a k\u00f6vetkez\u0151 \u00e9v febru\u00e1rj\u00e1ban jelezte, hogy m\u00e1r majdnem elk\u00e9sz\u00fclt, \u00e9s szeretn\u00e9 megbesz\u00e9lni megb\u00edz\u00f3ival a m\u0171 sors\u00e1t. El kellene ugyanis d\u00f6nteni, hogy a k\u00e9sz\u00edtend\u0151 gobelin-karton helyett festett k\u00e9pet \u00e1tadj\u00e1k-e a sz\u00f6v\u0151m\u0171helynek, vagy az elk\u00e9sz\u00fclt festm\u00e9ny ker\u00fclj\u00f6n a tan\u00e1csterem fal\u00e1ra. A Lektor\u00e1tus szakv\u00e9lem\u00e9nyt k\u00e9rt Domanovszky Gy\u00f6rgy iparm\u0171v\u00e9szeti lektort\u00f3l, aki eredetileg a megb\u00edz\u00e1st kiharcolta Kondornak, a zs\u0171ri pedig az \u0151 javaslat\u00e1t figyelembe v\u00e9ve a \u201em\u0171fajv\u00e1lt\u00e1sra\u201d szavazott. Kondor m\u00e1rcius v\u00e9g\u00e9re befejezte a pann\u00f3t, a Lektor\u00e1tus pedig, a Kamara egyet\u00e9rt\u00e9s\u00e9vel, min\u0151s\u00e9gi pr\u00e9miumk\u00e9nt 20.000 forinttal megemelte, \u00e9s ki is fizette az eredetileg 30.000 forintnyi tiszteletd\u00edjat.<\/p>\n

A m\u0171 be\u00e9p\u00edt\u00e9se azonban elmaradt, mert (az akkoriban v\u00e1rosszerte terjedt h\u00edrek szerint) a kamara eln\u00f6ke, Kall\u00f3s \u00d6d\u00f6n nem sz\u00edvelte a \u201eszenteket\u201d. \u00cdgy a k\u00e9p k\u00e9t \u00e9vre rakt\u00e1rba ker\u00fclt. Onnan 1974-ben Bertalan Vilmos, a Budapesti T\u00f6rt\u00e9neti M\u00fazeum f\u0151igazgat\u00f3-helyettese mentette ki azzal az \u00edg\u00e9rettel, hogy a pann\u00f3t a m\u00fazeum budav\u00e1ri palot\u00e1j\u00e1nak d\u00edsz\u00e9\u00fcl fogj\u00e1k haszn\u00e1lni, \u00e9s \u201ev\u00e9gleges be\u00e9p\u00edt\u00e9s\u00e9r\u0151l\u201d saj\u00e1t k\u00f6lts\u00e9g\u00fckre gondoskodnak. Kondor m\u0171v\u00e9nek megsz\u00fclet\u00e9se teh\u00e1t \u00f6sszef\u00fcgg a gobelin m\u0171fajnak a hatvanas\u2013hetvenes \u00e9vek sor\u00e1n az \u00e1llami megrendel\u00e9sek nyom\u00e1n bek\u00f6vetkezett felfut\u00e1s\u00e1val, elhelyez\u00e9s\u00e9nek t\u00f6rt\u00e9nete pedig kapcsol\u00f3dik a BTM V\u00e1rm\u00fazeum\u00e1nak megnyit\u00e1s\u00e1hoz \u00e9s d\u00edsz\u00edt\u00e9s\u00e9nek programj\u00e1hoz.<\/p>\n

\u00cdrta: Horv\u00e1th Gy\u00f6rgy<\/strong>[\/vc_column_text][\/vc_column][\/vc_row][vc_row css_animation=”” row_type=”row” use_row_as_full_screen_section=”no” type=”full_width” angled_section=”no” text_align=”left” background_image_as_pattern=”without_pattern”][vc_column][vc_separator type=”transparent” up=”20″][vc_column_text]<\/p>\n

Domanovszky Endre (1907-1974): F\u00fcrd\u0151z\u0151k,<\/em> 1960<\/h2>\n

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olajtempera, pap\u00edr<\/p>\n

[\/vc_column_text][\/vc_column][\/vc_row][vc_row css_animation=”” row_type=”row” use_row_as_full_screen_section=”no” type=”full_width” angled_section=”no” text_align=”left” background_image_as_pattern=”without_pattern”][vc_column width=”1\/4″][\/vc_column][vc_column width=”3\/4″][vc_single_image image=”22215″ img_size=”medium” qode_css_animation=”” el_class=”nagyitas”][\/vc_column][\/vc_row][vc_row css_animation=”” row_type=”row” use_row_as_full_screen_section=”no” type=”full_width” angled_section=”no” text_align=”left” background_image_as_pattern=”without_pattern”][vc_column width=”1\/4″][\/vc_column][vc_column width=”3\/4″][vc_separator type=”transparent” up=”10″ down=”10″][vc_column_text]1960\u20131961 k\u00f6z\u00f6tt Domanovszky Endre t\u00f6bb felt\u0171n\u0151en dekorat\u00edv, mur\u00e1lis munk\u00e1t k\u00e9sz\u00edtett, melyek figur\u00e1i \u00e9s kompoz\u00edci\u00f3s elrendez\u00e9sei er\u0151sen hasonl\u00edtanak az itt ki\u00e1ll\u00edtott F\u00fcrd\u0151z\u0151k c\u00edm\u0171 v\u00e1zlat megold\u00e1saira. A t\u00e9m\u00e1b\u00f3l, a keletkez\u00e9s d\u00e1tum\u00e1b\u00f3l \u00e9s a megform\u00e1l\u00e1sb\u00f3l arra lehet k\u00f6vetkeztetni, hogy a m\u0171 az 1961-ben a Gell\u00e9rt Sz\u00e1ll\u00f3 Teaszalonj\u00e1ban elhelyezett T\u00e1ncol\u00f3k c\u00edm\u0171 k\u00e1rpit tervez\u00e9si szakasz\u00e1ban keletkezett. Sajn\u00e1latos m\u00f3don a Gell\u00e9rt Sz\u00e1ll\u00f3 r\u00e9sz\u00e9re k\u00e9sz\u00fclt gobelin lektor\u00e1tusi anyaga elkeveredett az arch\u00edvumban, jelenleg nem el\u00e9rhet\u0151. Pedig abb\u00f3l kider\u00fclhetne, hogy a sz\u00e1ll\u00f3hoz \u00e9s f\u00fcrd\u0151h\u00f6z kapcsol\u00f3d\u00f3an volt-e Domanovszkynak lehet\u0151s\u00e9ge t\u00f6bb t\u00e9m\u00e1ban, helysz\u00ednben gondolkodni. Mind a T\u00e1ncol\u00f3k, mind a F\u00fcrd\u0151z\u0151k \u2013 a felvonultatott t\u00e1ncol\u00f3 \u00e9s f\u00fcrd\u0151z\u0151 alakok megform\u00e1l\u00e1sa, h\u00e1romsoros elhelyez\u00e9se, a figur\u00e1k mozgalmas, hangs\u00falyozottan s\u00edkszer\u0171 bemutat\u00e1sa ok\u00e1n \u2013 egy\u00e9rtelm\u0171en rokon\u00edthat\u00f3 a m\u0171v\u00e9sz ezen st\u00edlusperi\u00f3dus\u00e1nak egyik f\u0151 m\u0171v\u00e9vel, a debreceni p\u00e1lyaudvaron l\u00e1that\u00f3, v\u00e1s\u00e1rt \u00e1br\u00e1zol\u00f3, 1961-es fresk\u00f3val. Domanovszky Endre ebben az id\u0151szakban sz\u00fcletett b\u00e1rmely terve kivitelezhet\u0151 lenne sgraffit\u00f3k\u00e9nt,\u00a0 textilk\u00e9pk\u00e9nt, de ak\u00e1r mozaikk\u00e9nt is.<\/p>\n

\u00cdrta: G.Cs.<\/strong>[\/vc_column_text][\/vc_column][\/vc_row][vc_row css_animation=”” row_type=”row” use_row_as_full_screen_section=”no” type=”full_width” angled_section=”no” text_align=”left” background_image_as_pattern=”without_pattern”][vc_column][vc_separator type=”transparent” up=”20″][vc_column_text]<\/p>\n

Domanovszky Endre (1907-1974): Gobelinsz\u00f6v\u0151k I.,<\/em> 1962<\/h2>\n

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tempera, pap\u00edr<\/p>\n

[\/vc_column_text][\/vc_column][\/vc_row][vc_row css_animation=”” row_type=”row” use_row_as_full_screen_section=”no” type=”full_width” angled_section=”no” text_align=”left” background_image_as_pattern=”without_pattern”][vc_column width=”1\/4″][\/vc_column][vc_column width=”3\/4″][vc_single_image image=”22212″ img_size=”medium” qode_css_animation=”” el_class=”nagyitas”][\/vc_column][\/vc_row][vc_row css_animation=”” row_type=”row” use_row_as_full_screen_section=”no” type=”full_width” angled_section=”no” text_align=”left” background_image_as_pattern=”without_pattern”][vc_column width=”1\/4″][\/vc_column][vc_column width=”3\/4″][vc_separator type=”transparent” up=”10″ down=”10″][vc_column_text]A ki\u00e1ll\u00edtott grafik\u00e1k egy 1962-t\u0151l 1969-ig h\u00faz\u00f3d\u00f3 falik\u00e1rpit-tervez\u00e9si folyamat els\u0151 l\u00e9p\u00e9seinek lenyomatai. A gobelinek eset\u00e9ben az elk\u00e9sz\u00fclt textilk\u00e9p az 1:1 ar\u00e1nyban kartonra festett k\u00e9p \u00e9s m\u0171helyrajz sz\u00f6v\u00e9ssel megval\u00f3s\u00edtott m\u00e1sa. A munkafolyamat v\u00e9g\u00e9t jelent\u0151 kartont sok kism\u00e9ret\u0171, sz\u00edn-, kompoz\u00edci\u00f3- \u00e9s formav\u00e1zlat el\u0151zi meg. A harminc darabb\u00f3l \u00e1ll\u00f3 Gobelinsz\u00f6v\u0151k-v\u00e1zlatsorozat tanuls\u00e1gai az 1969-re elk\u00e9sz\u00fclt Sz\u00f6v\u0151n\u0151k c\u00edm\u0171 falik\u00e1rpitban \u00f6lt\u00f6ttek v\u00e9gleges form\u00e1t. A K\u00e9pz\u0151- \u00e9s Iparm\u0171v\u00e9szeti Lektor\u00e1tus adatt\u00e1r\u00e1ban fellelhet\u0151 dokumentumok alapj\u00e1n 1964 m\u00e1rcius\u00e1ban a F\u0151v\u00e1rosi Tan\u00e1cs N\u00e9pm\u0171vel\u00e9si Oszt\u00e1lya egy gondosan el\u0151k\u00e9sz\u00edtett k\u00e9r\u00e9ssel kereste meg a Lektor\u00e1tust. A Kiscelli M\u00fazeum folyamatban l\u00e9v\u0151 helyre\u00e1ll\u00edt\u00e1sa kapcs\u00e1n a f\u0151l\u00e9pcs\u0151h\u00e1z pihen\u0151j\u00e9nek fal\u00e1ra ig\u00e9nyeltek egy megk\u00f6zel\u00edt\u0151leg t\u00edz n\u00e9gyzetm\u00e9teres \u00faj falik\u00e1rpitot a k\u00f6zponti z\u00e1rolt keret terh\u00e9re, melyre maguk v\u00e1lasztott\u00e1k ki DomanovszkyEndre megb\u00edz\u00e1s n\u00e9lk\u00fcl tervezett Sz\u00f6v\u0151n\u0151k 1:1-es l\u00e9pt\u00e9k\u0171 k\u00e9sz kartonj\u00e1t. \u00dagy t\u0171nik, ebben a kiv\u00e9teles esetben, m\u00e9g miel\u0151tt az \u00e1llami megrendel\u00e9s sz\u00f3ba ker\u00fclt volna, a m\u0171v\u00e9sz m\u00e1r elk\u00e9sz\u00fclt a sz\u00f6v\u00e9s t\u00e9m\u00e1j\u00e1t feldolgoz\u00f3 textiltervvel. A m\u0171 megrendel\u00e9s\u00e9ben k\u00f6zrej\u00e1tszott a Lektor\u00e1tus zs\u0171rij\u00e9ben is jelent\u0151s szerepet bet\u00f6lt\u0151 Bertalan Vilmos szem\u00e9lye. A BTM \u00dajkori Oszt\u00e1ly\u00e1nak vezet\u0151jek\u00e9nt a lelt\u00e1rk\u00f6nyvek tan\u00fas\u00e1ga szerint m\u00e1r 1963-ban elkezdte megv\u00e1s\u00e1rolni a Gobelinsz\u00f6v\u0151k-v\u00e1zlatsorozat darabjait. Az ak\u00e1r el\u0151tanulm\u00e1nyk\u00e9nt is felfoghat\u00f3 grafikai lapok elnagyolt \u00e9s felnagy\u00edtott n\u0151alakokat, sz\u00f6v\u0151eszk\u00f6z\u00f6ket \u00e9s a m\u0171helyben zajl\u00f3 munkafolyamatok v\u00e1ltozatait \u00e1br\u00e1zolj\u00e1k. A kompoz\u00edci\u00f3k v\u00e1ltozatosak, ami gyakori ismertet\u0151je Domanovszky hatvanas \u00e9vekben k\u00e9sz\u00fclt t\u00f6bbalakos mur\u00e1lis munk\u00e1inak, p\u00e9ld\u00e1ul Sgraffito, 1961, Debrecen Nagy\u00e1llom\u00e1s v\u00e1r\u00f3csarnoka. Noha a lektor\u00e1tusi hozz\u00e1j\u00e1rul\u00e1st gyorsan siker\u00fclt megszerezni, a tervez\u00e9s kifizet\u00e9s\u00e9t k\u00f6vet\u0151en az Iparm\u0171v\u00e9szeti V\u00e1llalat sz\u00f6v\u0151m\u0171hely\u00e9nek kapacit\u00e1shi\u00e1nya miatt 1965-bena m\u0171 kivitelez\u00e9s\u00e9t elhalasztott\u00e1k. V\u00e9g\u00fcl h\u00e1rom \u00e9v eltelt\u00e9vel a gobelin elk\u00e9sz\u00fclt, az \u00e1tad\u00e1sra megjel\u00f6lt \u00e9p\u00fcletk\u00e9nt a BTM V\u00e1rm\u00fazeuma szerepel az iratokban. A m\u0171 utolj\u00e1ra 1972-ben volt l\u00e1that\u00f3 a Velencei Bienn\u00e1le magyar pavilonj\u00e1ban. A t\u00e1rgy jelenleg lappang, a BTM \u00e9s a Kiscelli M\u00fazeum egykori \u00e9s jelenlegi munkat\u00e1rsai nem ismerik a m\u0171 1972 ut\u00e1ni t\u00f6rt\u00e9net\u00e9t, tov\u00e1bbi sors\u00e1t.<\/p>\n

\u00cdrta: G.Cs.<\/strong>[\/vc_column_text][\/vc_column][\/vc_row][vc_row css_animation=”” row_type=”row” use_row_as_full_screen_section=”no” type=”full_width” angled_section=”no” text_align=”left” background_image_as_pattern=”without_pattern”][vc_column][vc_separator type=”transparent” up=”20″][vc_column_text]<\/p>\n

Domanovszky Endre (1907-1974): Z\u00f6ld-fekete kompoz\u00edci\u00f3,<\/em> 1969<\/h2>\n

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olajpasztell, pap\u00edr<\/p>\n

[\/vc_column_text][\/vc_column][\/vc_row][vc_row css_animation=”” row_type=”row” use_row_as_full_screen_section=”no” type=”full_width” angled_section=”no” text_align=”left” background_image_as_pattern=”without_pattern”][vc_column width=”1\/4″][\/vc_column][vc_column width=”3\/4″][vc_single_image image=”22218″ img_size=”medium” qode_css_animation=”” el_class=”nagyitas”][\/vc_column][\/vc_row][vc_row css_animation=”” row_type=”row” use_row_as_full_screen_section=”no” type=”full_width” angled_section=”no” text_align=”left” background_image_as_pattern=”without_pattern”][vc_column width=”1\/4″][\/vc_column][vc_column width=”3\/4″][vc_separator type=”transparent” up=”10″ down=”10″][vc_column_text]N\u00e9meth Lajos 1968-ban a XI. Magyar K\u00e9pz\u0151m\u0171v\u00e9szeti Ki\u00e1ll\u00edt\u00e1sr\u00f3l \u00edrott kritik\u00e1j\u00e1ban a sz\u00e1zad els\u0151 \u00e9vtized\u00e9ben sz\u00fcletettek nemzed\u00e9k\u00e9b\u0151l Bartha L\u00e1szl\u00f3t \u00e9s Domanovszky Endr\u00e9t emelte ki, m\u0171veikben a nonfigurativit\u00e1s fel\u00e9 tart\u00f3 ir\u00e1nyt l\u00e1tta. \u201eMindketten a non-figur\u00e1ci\u00f3 fel\u00e9 hajlanak [\u2026] Mindkett\u0151j\u00fckn\u00e9l azonban a term\u00e9szeti mot\u00edvum csup\u00e1n kiindul\u00e1s, a k\u00e9pek val\u00f3di eszt\u00e9tikai mondanival\u00f3j\u00e1hoz m\u00e1r nem sok k\u00f6ze van, az igazi tartalom m\u00e1r csup\u00e1n az egym\u00e1sra vonatkoztatott sz\u00ednek viszonylataiban revel\u00e1l\u00f3dik\u201d \u2013 \u00edrta. N\u00e9meth elbesz\u00e9l\u00e9s\u00e9ben Domanovszky az \u00f6tvenes \u00e9vek k\u00f6zep\u00e9t\u0151l az \u201e\u00fajrealizmus\u201d k\u00e9pvisel\u0151jek\u00e9nt szerepelt, \u00edgy ker\u00fclt be a Modern magyar m\u0171v\u00e9szet c\u00edm\u0171 (1968) \u00f6sszefoglal\u00f3 m\u0171v\u00e9be is. Leg\u00fajabb k\u00e9peit \u00e9rt\u00e9kelve k\u00f6nyv\u00e9ben megjegyezte: \u201ea nagy foltokba t\u00f6m\u00f6r\u00edtett, csattan\u00f3 sz\u00ednnyal\u00e1bok m\u00e1r a non-figurat\u00edv pikt\u00fara formak\u00f6r\u00e9hez tartoznak, annak ellen\u00e9re, hogy a t\u00e1rgyias\u00edtott mot\u00edvum megmaradt, de ezek ink\u00e1bb csak \u00fcr\u00fcgyek a prim\u00e9r fest\u0151i \u00e9lm\u00e9ny kivet\u00edt\u00e9s\u00e9re.\u201d Domanovszy absztrakci\u00f3 fel\u00e9 hajl\u00f3 m\u0171veit legitim\u00e1land\u00f3 \u201eindulati pikt\u00far\u00e1j\u00e1t\u201d N\u00e9meth a korszakban halad\u00f3 hagyom\u00e1nyk\u00e9nt \u00e9rt\u00e9kelt Munk\u00e1csy-trad\u00edci\u00f3hoz sorolta, s fest\u00e9szet\u00e9ben a term\u00e9szetelv\u0171 \u00e9s a nonfigurat\u00edv megold\u00e1sok k\u00f6z\u00f6tti egyens\u00falyt l\u00e1tta.<\/p>\n

Az itt ki\u00e1ll\u00edtott grafik\u00e1n m\u00e1r nem azonos\u00edthat\u00f3 t\u00e1rgyi elem, a kompoz\u00edci\u00f3 absztrakt, spaklival elh\u00fazott fest\u00e9kfoltokb\u00f3l \u00e1ll \u00f6ssze dekorat\u00edv fel\u00fclett\u00e9. Noha az absztrakci\u00f3 k\u00e9rd\u00e9s\u00e9r\u0151l 1971-ben m\u00e9g vit\u00e1k folytak, bizonyos m\u00e9rt\u00e9kben elfogadott\u00e1 v\u00e1lt, amit e m\u0171 m\u00fazeumba ker\u00fcl\u00e9se is mutat. A BTM-ben rendezett gy\u0171jtem\u00e9nyes ki\u00e1ll\u00edt\u00e1s \u00e9v\u00e9ben, azzal \u00f6sszef\u00fcgg\u00e9sben v\u00e1s\u00e1rolta meg Bertalan Vilmos Domanovszky t\u00f6bb nonfigurat\u00edv, olajpasztell technik\u00e1val k\u00e9sz\u00edtett lapj\u00e1t a k\u00e9pz\u0151m\u0171v\u00e9szeti gy\u0171jtem\u00e9ny sz\u00e1m\u00e1ra.<\/p>\n

\u00cdrta: R\u00f3ka Enik\u0151<\/strong>[\/vc_column_text][\/vc_column][\/vc_row][vc_row css_animation=”” row_type=”row” use_row_as_full_screen_section=”no” type=”full_width” angled_section=”no” text_align=”left” background_image_as_pattern=”without_pattern”][vc_column][vc_separator type=”transparent” up=”20″][vc_column_text]<\/p>\n

Domanovszky Endre (1907-1974): Ny\u00e1r,<\/em> 1970<\/h2>\n

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gyapj\u00fa, sz\u00f6v\u00f6tt<\/p>\n

[\/vc_column_text][\/vc_column][\/vc_row][vc_row css_animation=”” row_type=”row” use_row_as_full_screen_section=”no” type=”full_width” angled_section=”no” text_align=”left” background_image_as_pattern=”without_pattern”][vc_column width=”1\/4″][\/vc_column][vc_column width=”3\/4″][vc_single_image image=”22224″ img_size=”medium” qode_css_animation=”” el_class=”nagyitas”][\/vc_column][\/vc_row][vc_row css_animation=”” row_type=”row” use_row_as_full_screen_section=”no” type=”full_width” angled_section=”no” text_align=”left” background_image_as_pattern=”without_pattern”][vc_column width=”1\/4″][\/vc_column][vc_column width=”3\/4″][vc_separator type=”transparent” up=”10″ down=”10″][vc_column_text]Az egy \u00e9vvel k\u00e9s\u0151bbi, k\u00f6zel azonos m\u00e9ret\u0171 Lovak c\u00edm\u0171 k\u00e1rpithoz hasonl\u00f3an ezt a m\u0171vet is a M\u0171vel\u0151d\u00e9si Miniszt\u00e9rium adta \u00e1t a BTM k\u00e9pz\u0151m\u0171v\u00e9szeti gy\u0171jtem\u00e9ny\u00e9nek 1975-ben. A keletkez\u00e9ssel kapcsolatos dokumentumok hi\u00e1ny\u00e1ban \u00e9s a lelt\u00e1rk\u00f6nyv adatai alapj\u00e1n felt\u00e9telezhet\u0151, hogy a Ny\u00e1r a Miniszt\u00e9rium megrendel\u00e9s\u00e9re k\u00e9sz\u00fclt a M\u0171csarnokban rakt\u00e1rozott gobelingy\u0171jtem\u00e9ny r\u00e9sz\u00e9re. Ezt a reprezentat\u00edv gy\u0171jtem\u00e9nyt val\u00f3sz\u00edn\u0171leg nem csak utaz\u00f3 ki\u00e1ll\u00edt\u00e1sokra \u00e9s politikai c\u00e9l\u00fa rendezv\u00e9nyek dekor\u00e1l\u00e1s\u00e1ra haszn\u00e1lt\u00e1k, hanem k\u00fcl\u00f6nb\u00f6z\u0151 \u00e1llami int\u00e9zm\u00e9nyeket tudtak ell\u00e1tni ideol\u00f3giailag megfelel\u0151 m\u0171vekkel.<\/p>\n

A BTM \u00dajkori Oszt\u00e1ly\u00e1nak vezet\u0151je, majd a m\u00fazeum f\u0151igazgat\u00f3-helyettese, Bertalan Vilmos \u00edgy eml\u00e9kezett meg Domanovszky m\u0171v\u00e9r\u0151l: \u201eA falik\u00e1rpitokon a sz\u00ednfoltokkal t\u00f6rt\u00e9n\u0151 form\u00e1l\u00e1st t\u00f6bbsz\u00f6r k\u00eds\u00e9rik \u00e9rz\u00e9keny rajzoss\u00e1ggal megoldott r\u00e9szletek. A sz\u00ednek k\u00f6z\u00fcl el\u0151b\u00fav\u00f3 \u00e9s bel\u00e9j\u00fck metsz\u0151d\u0151, szinte kalligrafikusan kanyarod\u00f3, s\u00edkba ter\u00edtett vonalritmus jellemzi a Ny\u00e1r c\u00edm\u0171 gobelint. Ezzel a m\u00f3dszerrel alak\u00edtja figur\u00e1it, v\u00e1ltozatos testtart\u00e1suk a ny\u00e1ri munk\u00e1t, a pihen\u00e9st, a komoly elm\u00e9ly\u00fcl\u00e9st egyar\u00e1nt kifejezi. A vil\u00e1gos alap, az el\u0151villan\u00f3 sz\u00ednek, a f\u00e9nnyel besug\u00e1rzott alakok \u00e9pp\u00fagy megjelen\u00edtik az \u00e9vszakot, mint a kiteljesedett, \u00e9rett \u00e9letform\u00e1t.\u201d<\/p>\n

\u00cdrta: G.Cs.<\/strong>[\/vc_column_text][\/vc_column][\/vc_row][vc_row css_animation=”” row_type=”row” use_row_as_full_screen_section=”no” type=”full_width” angled_section=”no” text_align=”left” background_image_as_pattern=”without_pattern”][vc_column][vc_separator type=”transparent” up=”20″][vc_column_text]<\/p>\n

Domanovszky Endre (1907-1974): Lovak,<\/em> 1971<\/h2>\n

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gyapj\u00fa, sz\u00f6v\u00f6tt<\/p>\n

[\/vc_column_text][\/vc_column][\/vc_row][vc_row css_animation=”” row_type=”row” use_row_as_full_screen_section=”no” type=”full_width” angled_section=”no” text_align=”left” background_image_as_pattern=”without_pattern”][vc_column width=”1\/4″][\/vc_column][vc_column width=”3\/4″][vc_single_image image=”22227″ img_size=”medium” qode_css_animation=”” el_class=”nagyitas”][\/vc_column][\/vc_row][vc_row css_animation=”” row_type=”row” use_row_as_full_screen_section=”no” type=”full_width” angled_section=”no” text_align=”left” background_image_as_pattern=”without_pattern”][vc_column width=”1\/4″][\/vc_column][vc_column width=”3\/4″][vc_separator type=”transparent” up=”10″ down=”10″][vc_column_text]Az 1971-ben Budapesten megrendezett Vad\u00e1szati Vil\u00e1gki\u00e1ll\u00edt\u00e1s rendk\u00edv\u00fcl n\u00e9pszer\u0171 volt a k\u00f6z\u00f6ns\u00e9g k\u00f6r\u00e9ben, de politikai jelent\u0151s\u00e9ggel is b\u00edrt. A korabeli filmh\u00edrad\u00f3k tan\u00fas\u00e1ga szerint sz\u00e1mos k\u00fclf\u00f6ldi vend\u00e9g mellett a Szovjet\u00fani\u00f3 f\u0151titk\u00e1ra, maga Leonyid Iljics Brezsnyev is l\u00e1togat\u00e1st tett a ki\u00e1ll\u00edt\u00e1son, melyhez egy k\u00e9pz\u0151m\u0171v\u00e9szeti t\u00e1rlat is t\u00e1rsult. Ez ut\u00f3bbinak a M\u0171csarnok adott helyet. Erre az alkalomra a M\u0171vel\u0151d\u00e9si Miniszt\u00e9rium tucatnyi \u00faj k\u00e1rpitot rendelt kort\u00e1rs fest\u0151kt\u0151l \u00e9s iparm\u0171v\u00e9szekt\u0151l. Az \u00faj megrendel\u00e9sek feladata volt \u2013 a r\u00e9gi mesterek k\u00e9peinek folytat\u00e1sak\u00e9nt \u2013 a vad\u00e1szat, a term\u00e9szet \u00e9s ember kapcsolat\u00e1nak bemutat\u00e1sa a \u201ejelenkor\u201d m\u0171v\u00e9szeti form\u00e1ival \u00e9s gondolataival.<\/p>\n

A Budapest egyes\u00edt\u00e9s\u00e9nek centen\u00e1riuma alkalm\u00e1b\u00f3l sz\u0151tt k\u00e1rpithoz hasonl\u00f3an Domanovszky a Lovak eset\u00e9ben is t\u00f6m\u00f6ren fogalmazza meg a kijel\u00f6lt t\u00e9m\u00e1t. Az alakokat a h\u00e1tt\u00e9rben felold\u00f3d\u00f3, absztrah\u00e1l\u00f3 sz\u00ednfoltokkal jelen\u00edti meg, amelyek kifejezetten j\u00f3l illeszkednek a sz\u00f6v\u00e9s technik\u00e1j\u00e1hoz. Z\u00f6ld h\u00e1tt\u00e9r el\u0151tt, z\u00e1rt kompoz\u00edci\u00f3ban k\u00e9t, ellenkez\u0151 ir\u00e1nyba fordul\u00f3, statikus lovat l\u00e1thatunk a rajtuk \u00fcl\u0151 lovasokkal.<\/p>\n

A Vad\u00e1szati Vil\u00e1gki\u00e1ll\u00edt\u00e1son d\u00edjat nyert m\u0171 a Miniszt\u00e9rium gy\u0171jtem\u00e9ny\u00e9b\u0151l k\u00e9t \u00e9vvel a bemutat\u00e1sa ut\u00e1n, \u00e1tenged\u00e9ssel ker\u00fclt a BTM k\u00e9pz\u0151m\u0171v\u00e9szeti gy\u0171jtem\u00e9ny\u00e9nek az anyag\u00e1ba. Domanovszky Endre terve alapj\u00e1n, az Iparm\u0171v\u00e9szeti V\u00e1llalat sz\u00f6v\u0151m\u0171hely\u00e9ben a gobelint R\u00e1bai J\u00e1nosn\u00e9 \u00e9s Szentgy\u00f6rgyi \u00c9va sz\u0151tt\u00e9k.<\/p>\n

\u00cdrta: G.Cs.<\/strong>[\/vc_column_text][\/vc_column][\/vc_row][vc_row css_animation=”” row_type=”row” use_row_as_full_screen_section=”no” type=”full_width” angled_section=”no” text_align=”left” background_image_as_pattern=”without_pattern”][vc_column][vc_separator type=”transparent” up=”20″][vc_column_text]<\/p>\n

Domanovszky Endre (1907-1974): Budapest egyes\u00edt\u00e9s\u00e9nek centen\u00e1riuma,<\/em> 1973<\/h2>\n

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gyapj\u00fa, sz\u00f6v\u00f6tt<\/p>\n

[\/vc_column_text][\/vc_column][\/vc_row][vc_row css_animation=”” row_type=”row” use_row_as_full_screen_section=”no” type=”full_width” angled_section=”no” text_align=”left” background_image_as_pattern=”without_pattern”][vc_column width=”1\/4″][\/vc_column][vc_column width=”3\/4″][vc_single_image image=”22230″ img_size=”medium” qode_css_animation=”” el_class=”nagyitas”][\/vc_column][\/vc_row][vc_row css_animation=”” row_type=”row” use_row_as_full_screen_section=”no” type=”full_width” angled_section=”no” text_align=”left” background_image_as_pattern=”without_pattern”][vc_column width=”1\/4″][\/vc_column][vc_column width=”3\/4″][vc_separator type=”transparent” up=”10″ down=”10″][vc_column_text]Domanovszky Endre gobelintervez\u0151i p\u00e1ly\u00e1j\u00e1nak egyik utols\u00f3 m\u0171v\u00e9t a BTM v\u00e1rm\u00fazeumi \u00e9p\u00fclet\u00e9nek els\u0151 emelet\u00e9re sz\u00e1nt\u00e1k. Az 1972 nyar\u00e1n, a F\u0151v\u00e1rosi Tan\u00e1cs megrendel\u00e9s\u00e9re ind\u00edtott megb\u00edz\u00e1s m\u00e1sf\u00e9l \u00e9v alatt, 1973 december\u00e9re k\u00e9sz\u00fclt el a F\u0151v\u00e1rosi Eml\u00e9km\u0171 Fel\u00fcgyel\u0151s\u00e9g \u00e9s a K\u00e9pz\u0151- \u00e9s Iparm\u0171v\u00e9szeti Lektor\u00e1tus fel\u00fcgyelet\u00e9vel. A rekordgyorsas\u00e1gban megtervezett, lektor\u00e1lt \u00e9s lesz\u00f6vetett, 24 n\u00e9gyzetm\u00e9teres k\u00e1rpit 345.500 forint gy\u00e1rt\u00e1si k\u00f6lts\u00e9ge, \u00e9s 150.000 forint tervez\u00e9si tiszteletd\u00edja a k\u00e9pz\u0151m\u0171v\u00e9szeti alkot\u00e1sokra \u00e1llamilag el\u0151ir\u00e1nyzott k\u00f6zponti z\u00e1rolt keretb\u0151l ker\u00fclt kifizet\u00e9sre.<\/p>\n

A Domanovszky \u00e1ltal festett 1:1 l\u00e9pt\u00e9k\u0171 sz\u00f6v\u0151karton alapj\u00e1n a lektor\u00e1tusi sz\u00f6v\u0151m\u0171helyben lesz\u0151tt gobelin Pest, Buda \u00e9s \u00d3buda egyes\u00edt\u00e9s\u00e9t \u00fcnnep\u00e9lyes tart\u00e1s\u00fa, egym\u00e1sba kapcsol\u00f3d\u00f3 allegorikus alakok \u00e9s c\u00edmerek \u00e1br\u00e1zol\u00e1s\u00e1val mutatja be. A monument\u00e1lis figur\u00e1k, mozdulatok kont\u00farrajzai nehezen kivehet\u0151k, felold\u00f3dnak az er\u0151teljes sz\u00ednfoltok v\u00e1ltakoz\u00f3 s\u00e1vjaiban.<\/p>\n

A sz\u00f6v\u0151karton zs\u0171riz\u00e9s\u00e9re kijel\u00f6lt szak\u00e9rt\u0151k (K\u00e1d\u00e1r Gy\u00f6rgy, P\u00e9csi L\u00e1szl\u00f3, Bertalan Vilmos, Czinege Istv\u00e1nn\u00e9, T\u0151kei Ferencn\u00e9) egyet\u00e9rt\u00e9sben, v\u00e1ltoztat\u00e1s n\u00e9lk\u00fcl fogadt\u00e1k el a centen\u00e1riumi t\u00e9m\u00e1t \u201em\u00e9lt\u00f3 m\u00f3don\u201d bemutat\u00f3 tervet. K\u00e1d\u00e1r Gy\u00f6rgy fest\u0151 jegyz\u0151k\u00f6nyvben r\u00f6gz\u00edtett szakv\u00e9lem\u00e9nye szerint: \u201eA tagol\u00e1s \u00fcteme j\u00f3, apszolut (sic!) mai, technik\u00e1ban, sz\u00ednben egyar\u00e1nt. Pest-Buda egyes\u00edt\u00e9s\u00e9t mai nyelven t\u00fckr\u00f6zi. Teljesen textilszer\u0171, kivitelben m\u00e9g szebb lesz.\u201d<\/p>\n

A karton alapj\u00e1n a gobelint Szentgy\u00f6rgyi \u00c9va, Rithnovszky \u00c9va, Nehrebeczky G\u00e1born\u00e9, Nagy Ingrid, Kir\u00e1ly Erzs\u00e9bet, Domanovszky \u00c1d\u00e1mn\u00e9 sz\u0151tte.<\/p>\n

\u00cdrta: G.Cs.<\/strong>[\/vc_column_text][\/vc_column][\/vc_row][vc_row css_animation=”” row_type=”row” use_row_as_full_screen_section=”no” type=”full_width” angled_section=”no” text_align=”left” background_image_as_pattern=”without_pattern”][vc_column][vc_separator type=”transparent” up=”20″][vc_column_text]<\/p>\n

Ker\u00e9nyi Jen\u0151 (1908-1975): Felvonul\u00f3k,<\/em> 1953<\/h2>\n

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bronz<\/p>\n

[\/vc_column_text][\/vc_column][\/vc_row][vc_row css_animation=”” row_type=”row” use_row_as_full_screen_section=”no” type=”full_width” angled_section=”no” text_align=”left” background_image_as_pattern=”without_pattern”][vc_column width=”1\/4″][\/vc_column][vc_column width=”3\/4″][vc_single_image image=”22233″ img_size=”medium” qode_css_animation=”” el_class=”nagyitas”][\/vc_column][\/vc_row][vc_row css_animation=”” row_type=”row” use_row_as_full_screen_section=”no” type=”full_width” angled_section=”no” text_align=”left” background_image_as_pattern=”without_pattern”][vc_column width=”1\/4″][\/vc_column][vc_column width=”3\/4″][vc_separator type=”transparent” up=”10″ down=”10″][vc_column_text]Az eredeti terv szerint Ker\u00e9nyi Jen\u0151 szobrait Domanovszky Endre festm\u00e9nyeivel \u00e9s gobelinjeivel egy\u00fctt \u00e1ll\u00edtott\u00e1k volna ki a Budapesti T\u00f6rt\u00e9neti M\u00fazeumban 1971 \u0151sz\u00e9n. V\u00e9g\u00fcl Ker\u00e9nyi nem szerepelt a v\u00e1rm\u00fazeumi ki\u00e1ll\u00edt\u00e1son, de r\u00e1nk maradt a kur\u00e1tor, Bertalan Vilmos t\u00e9teles list\u00e1ja a gy\u0171jtem\u00e9nyben fellelhet\u0151 m\u0171vekr\u0151l. Ezek k\u00f6z\u00f6tt volt az itt l\u00e1that\u00f3 Felvonul\u00f3k is.<\/p>\n

A bronzszobor egy monument\u00e1lis m\u0171 kismint\u00e1ja: a h\u00e1romalakos, 350 cm magas alum\u00ednium szoborcsoport a R\u00e1kosi-korszak egyik preszt\u00edzsberuh\u00e1z\u00e1s\u00e1hoz, az 1953-ban \u00e1tadott N\u00e9pstadionhoz vezet\u0151 felvonul\u00e1si utat, az \u00fagynevezett Magyar Ifj\u00fas\u00e1g \u00datj\u00e1t volt hivatott d\u00edsz\u00edteni \u2013 tizen\u00f6t hasonl\u00f3 t\u00e9m\u00e1j\u00fa, a korszak nevesebb szobr\u00e1szainak szocialista realista alkot\u00e1s\u00e1val egy\u00fctt.<\/p>\n

Tizennyolc \u00e9vvel k\u00e9s\u0151bb, 1971-ben, a v\u00e1rbeli ki\u00e1ll\u00edt\u00e1s tervezet\u00e9ben is helyet kapott ez a plasztika. B\u00e1r a N\u00e9pstadion k\u00f6rnyezet\u00e9t d\u00edsz\u00edt\u0151 szocre\u00e1l szoboregy\u00fcttes m\u00e1r \u00e1tad\u00e1sa \u00e9v\u00e9ben, 1958-ban is anakronisztikusnak hatott, Ker\u00e9nyi Jen\u0151 Felvonul\u00f3k-kompoz\u00edci\u00f3ja t\u00f6bb ok miatt is ki\u00e1llhatta az id\u0151 pr\u00f3b\u00e1j\u00e1t. Az \u0151 m\u0171v\u00e9szete k\u00e9pviselte ugyanis \u2013 Domanovszky Endre \u00e9s Somogyi J\u00f3zsef mellett \u2013 azt a halad\u00f3 hagyom\u00e1nyt, amelyben N\u00e9meth Lajos m\u00e1r 1955 k\u00f6r\u00fcl a szocre\u00e1l m\u0171v\u00e9szet meghalad\u00e1s\u00e1nak, a modern szocialista m\u0171v\u00e9szet kibontakoz\u00e1s\u00e1nak lehet\u0151s\u00e9g\u00e9t l\u00e1tta: \u201eEz a k\u00f6z\u00f6ss\u00e9gi m\u0171v\u00e9szet program vezetett engem is, amikor beker\u00fcltem a kult\u00farpolitik\u00e1ba, \u00e9s a Ker\u00e9nyi\u2013Somogyi\u2013Domanovszky vonalat t\u00e1mogattam, ami az egyed\u00fcl j\u00e1rhat\u00f3 \u00fatnak l\u00e1tszott\u201d \u2013 nyilatkozta 1986-ban k\u00e9sz\u00fclt \u00e9let\u00fatinterj\u00faj\u00e1ban.<\/p>\n

\u00cdrta: Leposa Zs\u00f3ka<\/strong>[\/vc_column_text][\/vc_column][\/vc_row][vc_row css_animation=”” row_type=”row” use_row_as_full_screen_section=”no” type=”full_width” angled_section=”no” text_align=”left” background_image_as_pattern=”without_pattern”][vc_column][vc_separator type=”transparent” up=”20″][vc_column_text]<\/p>\n

Ker\u00e9nyi Jen\u0151 (1908-1975): Mad\u00e1ch Sz\u00ednh\u00e1z homlokzati terve,<\/em> 1960-61<\/h2>\n

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bronz<\/p>\n

[\/vc_column_text][\/vc_column][\/vc_row][vc_row css_animation=”” row_type=”row” use_row_as_full_screen_section=”no” type=”full_width” angled_section=”no” text_align=”left” background_image_as_pattern=”without_pattern”][vc_column width=”1\/4″][\/vc_column][vc_column width=”3\/4″][vc_single_image image=”22236″ img_size=”medium” qode_css_animation=”” el_class=”nagyitas”][\/vc_column][\/vc_row][vc_row css_animation=”” row_type=”row” use_row_as_full_screen_section=”no” type=”full_width” angled_section=”no” text_align=”left” background_image_as_pattern=”without_pattern”][vc_column width=”1\/4″][\/vc_column][vc_column width=”3\/4″][vc_separator type=”transparent” up=”10″ down=”10″][vc_column_text]A Mad\u00e1ch Sz\u00ednh\u00e1z \u00e9p\u00fclete a Lenin k\u00f6r\u00faton (ma Erzs\u00e9bet k\u00f6r\u00fat) Kaufmann Oszk\u00e1r \u00e9p\u00edt\u00e9sz tervei szerint k\u00e9sz\u00fclt 1954 \u00e9s 1960 k\u00f6z\u00f6tt. A homlokzatra sz\u00e1nt \u00f6t szoborcsoportnak az els\u0151 elk\u00e9pzel\u00e9sek szerint rohamtemp\u00f3ban, 1960 \u00e1prilisa \u00e9s decembere k\u00f6z\u00f6tt kellett volna elk\u00e9sz\u00fclnie, a feladatot val\u00f3sz\u00edn\u0171leg ez\u00e9rt osztott\u00e1k meg h\u00e1rom tapasztalt szobr\u00e1sz, Ker\u00e9nyi Jen\u0151, Kiss Kov\u00e1cs Gyula \u00e9s Somogyi J\u00f3zsef k\u00f6z\u00f6tt. Ker\u00e9nyir\u0151l \u00e9s Somogyir\u00f3l nem sokkal kor\u00e1bban, az 1958-as br\u00fcsszeli vil\u00e1gki\u00e1ll\u00edt\u00e1s magyar pavilonj\u00e1nak szobrai kapcs\u00e1n m\u00e1r kider\u00fclt, hogy tudnak s\u00fcrg\u0151s megb\u00edz\u00e1sokon sikeresen egy\u00fctt dolgozni.<\/p>\n

A falf\u00fclk\u00e9kbe mindegyik m\u0171v\u00e9sz 140 cm magas, h\u00e1rom n\u0151i figur\u00e1b\u00f3l \u00e1ll\u00f3 szoborcsoportot tervezett. Ker\u00e9nyi Jen\u0151 itt bemutatott kism\u00e9ret\u0171 modellj\u00e9n j\u00f3l \u00e9rz\u00e9kelhet\u0151 az a szaggatott, expressz\u00edv formavil\u00e1g, ami p\u00e1r \u00e9vvel kor\u00e1bban, az \u00f6tvenes \u00e9vek elej\u00e9n, monument\u00e1lis form\u00e1ban m\u00e9g nem val\u00f3sulhatott volna meg. A \u201edogmatikus realizmus, a f\u00e9lreszor\u00edtott modern t\u00f6rekv\u00e9sek idej\u00e9n [\u2026] \u00e9ppen ez\u00e1ltal t\u0171nt olyan modernnek, korszer\u0171nek Ker\u00e9nyi szobr\u00e1szata.\u201d (Kovalovszky M\u00e1rta)<\/p>\n

A plasztika ez\u00e9rt is ker\u00fclhetett bele abba a v\u00e1logat\u00e1sba, amit 1971-ben a Domanovszky-gobelinek \u00e9s festm\u00e9nyek mell\u00e9 sz\u00e1ntak a Budapesti T\u00f6rt\u00e9neti M\u00fazeum ki\u00e1ll\u00edt\u00e1s\u00e1n. A Ker\u00e9nyi-bemutat\u00f3 ugyan nem j\u00f6tt l\u00e9tre, de a BTM k\u00e9pz\u0151m\u0171v\u00e9szeti gy\u0171jtem\u00e9ny\u00e9nek nagyar\u00e1ny\u00fa Ker\u00e9nyi- \u00e9s Somogyi-v\u00e1s\u00e1rl\u00e1sai tan\u00faskodnak a monument\u00e1lis szobr\u00e1szatot a hatvanas \u00e9vekben jellemz\u0151, visszafogott modernizmus elfogadotts\u00e1g\u00e1r\u00f3l.<\/p>\n

\u00cdrta: Leposa Zs\u00f3ka<\/strong>[\/vc_column_text][\/vc_column][\/vc_row][vc_row css_animation=”” row_type=”row” use_row_as_full_screen_section=”no” type=”full_width” angled_section=”no” text_align=”left” background_image_as_pattern=”without_pattern”][vc_column][vc_separator type=”transparent” up=”20″][vc_column_text]<\/p>\n

Somogyi J\u00f3zsef (1916-1993): H\u00e1rf\u00e1s,<\/em> 1962<\/h2>\n

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bronz<\/p>\n

[\/vc_column_text][\/vc_column][\/vc_row][vc_row css_animation=”” row_type=”row” use_row_as_full_screen_section=”no” type=”full_width” angled_section=”no” text_align=”left” background_image_as_pattern=”without_pattern”][vc_column width=”1\/4″][\/vc_column][vc_column width=”3\/4″][vc_single_image image=”22393″ img_size=”medium” qode_css_animation=”” el_class=”nagyitas”][\/vc_column][\/vc_row][vc_row css_animation=”” row_type=”row” use_row_as_full_screen_section=”no” type=”full_width” angled_section=”no” text_align=”left” background_image_as_pattern=”without_pattern”][vc_column width=”1\/4″][\/vc_column][vc_column width=”3\/4″][vc_separator type=”transparent” up=”10″ down=”10″][vc_column_text]Somogyi J\u00f3zsef az 1970-es Velencei Bienn\u00e1l\u00e9n \u2013 Hincz Gyula m\u0171vei mellett \u2013 mintegy negyven szoborral k\u00e9pviseltette mag\u00e1t. T\u00f6bbs\u00e9g\u00fck k\u00f6zt\u00e9ri szobor bronzba \u00f6nt\u00f6tt kismint\u00e1ja volt, vagy olyan plasztika, amely m\u00e1r a m\u0171teremben, kisebb m\u00e9retben megmint\u00e1zva mag\u00e1ban hordozta a monumentalit\u00e1s lehet\u0151s\u00e9g\u00e9t. Ezek k\u00f6z\u00e9 tartozott az itt l\u00e1that\u00f3 H\u00e1rf\u00e1s is, amely a jegyz\u0151k\u00f6nyvek alapj\u00e1n m\u00e1r 1962-ben k\u00e9szen volt; val\u00f3sz\u00edn\u0171leg a Mad\u00e1ch Sz\u00ednh\u00e1z egy \u00e9vvel kor\u00e1bban elk\u00e9sz\u00fclt homlokzati figur\u00e1inak egyik tervvari\u00e1ci\u00f3jak\u00e9nt k\u00e9sz\u00fclt. A szobrot a k\u00e9pz\u0151m\u0171v\u00e9szeti gy\u0171jtem\u00e9ny sz\u00e1m\u00e1ra Bertalan Vilmos v\u00e1s\u00e1rolta meg a m\u0171v\u00e9szt\u0151l 1969-ben; 1970- ben Velenc\u00e9ben, 1971-ben a BTM V\u00e1rm\u00fazeum\u00e1nak ki\u00e1ll\u00edt\u00e1s\u00e1n l\u00e1thatta a k\u00f6z\u00f6ns\u00e9g.<\/p>\n

Egy \u00e9vvel k\u00e9s\u0151bb, 1972-ben a lektor\u00e1tusi Munkaeloszt\u00f3 Bizotts\u00e1g Somogyi J\u00f3zsefet k\u00e9rte fel, hogy H\u00e1rf\u00e1s l\u00e1ny c\u00edmmel k\u00f6zt\u00e9ri szobrot k\u00e9sz\u00edtsen a III. ker\u00fcleti Haj\u00f3gy\u00e1r utca \u2013 Laktanya utca sark\u00e1ra. A megval\u00f3sult m\u0171, amely ma az \u00f3budai Zichy-kast\u00e9ly udvar\u00e1ban \u00e1ll, ennek a m\u0171nek a felnagy\u00edtott m\u00e1sa.<\/p>\n

A m\u00fazeumi v\u00e1s\u00e1rl\u00e1sokb\u00f3l, k\u00f6zt\u00e9ri megb\u00edz\u00e1sokb\u00f3l j\u00f3l rekonstru\u00e1lhat\u00f3 az els\u0151dleges nyilv\u00e1noss\u00e1g k\u00f6zege, amelyben a korszak elfogadott, a szocre\u00e1l ut\u00e1ni \u201e\u00faj szocialista m\u0171v\u00e9szet\u201d reprezent\u00e1nsai \u00e9rv\u00e9nyes\u00fcltek.<\/p>\n

\u00cdrta: Leposa Zs\u00f3ka<\/strong>[\/vc_column_text][\/vc_column][\/vc_row][vc_row css_animation=”” row_type=”row” use_row_as_full_screen_section=”no” type=”full_width” angled_section=”no” text_align=”left” background_image_as_pattern=”without_pattern”][vc_column][vc_separator type=”transparent” up=”20″][vc_column_text]<\/p>\n

Somogyi J\u00f3zsef (1916-1993): Csal\u00e1d,<\/em> 1962<\/h2>\n

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bronz<\/p>\n

[\/vc_column_text][\/vc_column][\/vc_row][vc_row css_animation=”” row_type=”row” use_row_as_full_screen_section=”no” type=”full_width” angled_section=”no” text_align=”left” background_image_as_pattern=”without_pattern”][vc_column width=”1\/4″][\/vc_column][vc_column width=”3\/4″][vc_single_image image=”22396″ img_size=”medium” qode_css_animation=”” el_class=”nagyitas”][\/vc_column][\/vc_row][vc_row css_animation=”” row_type=”row” use_row_as_full_screen_section=”no” type=”full_width” angled_section=”no” text_align=”left” background_image_as_pattern=”without_pattern”][vc_column width=”1\/4″][\/vc_column][vc_column width=”3\/4″][vc_separator type=”transparent” up=”10″ down=”10″][vc_column_text]<\/p>\n

\u00c9n egy sz\u00f6vegblokk vagyok. Kattints a szerkeszt\u00e9s gombra a sz\u00f6veg megv\u00e1ltoztat\u00e1s\u00e1hoz. Lorem ipsum dolor sit amet, consectetur adipiscing elit. Ut elit tellus, luctus nec ullamcorper mattis, pulvinar dapibus leo.<\/p>\n

[\/vc_column_text][\/vc_column][\/vc_row][vc_row css_animation=”” row_type=”row” use_row_as_full_screen_section=”no” type=”full_width” angled_section=”no” text_align=”left” background_image_as_pattern=”without_pattern”][vc_column][vc_separator type=”transparent” up=”20″][vc_column_text]<\/p>\n

Kiss Nagy Andr\u00e1s (1930-1997): \u00c1csorg\u00f3k,<\/em> 1966<\/h2>\n

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bronz<\/p>\n

[\/vc_column_text][\/vc_column][\/vc_row][vc_row css_animation=”” row_type=”row” use_row_as_full_screen_section=”no” type=”full_width” angled_section=”no” text_align=”left” background_image_as_pattern=”without_pattern”][vc_column width=”1\/4″][\/vc_column][vc_column width=”3\/4″][vc_single_image image=”22383″ img_size=”medium” qode_css_animation=”” el_class=”nagyitas”][\/vc_column][\/vc_row][vc_row css_animation=”” row_type=”row” use_row_as_full_screen_section=”no” type=”full_width” angled_section=”no” text_align=”left” background_image_as_pattern=”without_pattern”][vc_column width=”1\/4″][\/vc_column][vc_column width=”3\/4″][vc_separator type=”transparent” up=”10″ down=”10″][vc_column_text]Kiss Nagy Andr\u00e1s negyvenh\u00e1rom kisplasztik\u00e1val \u00e9s mintegy \u00f6tven \u00e9remmel szerepelt az 1972-es Velencei Bienn\u00e1l\u00e9n, Domanovszky Endre festm\u00e9nyei \u00e9s hatalmas gobelinjei mellett. A m\u0171v\u00e9szt \u2013 a kor\u00e1bbi \u00e9vekt\u0151l elt\u00e9r\u0151en \u2013 nem Vayer Lajos nemzeti biztos javasolta, hanem Mario Penelope, a Bienn\u00e1le akkori ideiglenes korm\u00e1nybiztos-helyettese figyelt fel a munk\u00e1ira 1971-ben, a Nemzetk\u00f6zi Kisplasztikai Bienn\u00e1le zs\u0171riz\u00e9se k\u00f6zben.<\/p>\n

A F\u0151v\u00e1rosi K\u00e9pt\u00e1r gy\u0171jtem\u00e9ny\u00e9ben \u0151rz\u00f6tt \u00c1csorg\u00f3k j\u00f3l reprezent\u00e1lja azt a plasztikai vil\u00e1got, amely ezt a szobr\u00e1szatot jellemezte: Kiss Nagy szobrainak k\u00f6z\u00e9ppontj\u00e1ban mindig a figur\u00e1lis \u00e1br\u00e1zol\u00e1s \u00e1ll; a formai redukci\u00f3t, a t\u00f6megek j\u00e1t\u00e9k\u00e1t a konvex-konk\u00e1v form\u00e1k dinamik\u00e1ja adja. Erre a visszafogott modernizmusra N\u00e9meth Lajos is felfigyelt 1968-ban, amikor a M\u0171csarnokbeli orsz\u00e1gos nagy ki\u00e1ll\u00edt\u00e1s egyik \u201enagy meglepet\u00e9s\u00e9nek\u201d titul\u00e1lta Kiss Nagy Andr\u00e1st, szobrain a t\u00f6megben val\u00f3 gondolkod\u00e1st \u00e9s a ritmus ir\u00e1nti \u00e9rz\u00e9ket m\u00e9ltatva.<\/p>\n

A Domanovszky \u2013 Kiss Nagy p\u00e1ros szerepeltet\u00e9se az 1972-es Bienn\u00e1l\u00e9n t\u00fckr\u00f6zi azt a biztons\u00e1gi j\u00e1t\u00e9kot, ami a hetvenes \u00e9vek elej\u00e9n jellemezte Magyarorsz\u00e1g velencei r\u00e9szv\u00e9tel\u00e9t: a realizmus talaj\u00e1n \u00e1ll\u00f3, az absztrakci\u00f3 fel\u00e9 elmozdul\u00f3 figur\u00e1lis \u00e1br\u00e1zol\u00e1s volt hivatott kifejezni az \u00faj szocialista m\u0171v\u00e9szet eszm\u00e9ny\u00e9t, a \u201ehumanizmus \u00f6r\u00f6k\u00e9rv\u00e9ny\u0171 tartalmait\u201d.<\/p>\n

\u00cdrta: Leposa Zs\u00f3ka<\/strong>[\/vc_column_text][\/vc_column][\/vc_row]<\/p>\n","protected":false},"excerpt":{"rendered":"

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