{"id":25095,"date":"2026-05-27T10:02:18","date_gmt":"2026-05-27T10:02:18","guid":{"rendered":"https:\/\/fovarosikeptar.hu\/?page_id=25095"},"modified":"2026-05-27T13:02:16","modified_gmt":"2026-05-27T13:02:16","slug":"rhythm-of-mass","status":"publish","type":"page","link":"https:\/\/fovarosikeptar.hu\/en\/rhythm-of-mass\/","title":{"rendered":"Rhythm of Mass – Solo exhibition of M\u00e1ria K\u00f3sa (ne\u00e9 Moln\u00e1r) (1899\u20131945)"},"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\/4″][vc_single_image image=”25017″ img_size=”medium” alignment=”right” qode_css_animation=”” el_class=”nagyitas”][\/vc_column][vc_column width=”3\/4″][vc_column_text]<\/p>\n

RHYTHM OF MASS
\nSolo exhibition of M\u00e1ria K\u00d3SA (ne\u00e9 MOLN\u00c1R) (1899\u20131945)<\/h2>\n

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April 23, 2026 \u2013 September 6, 2026<\/p>\n

Curators: Eszter Moln\u00e1rn\u00e9 Acz\u00e9l, L\u00edvia P\u00e1ldi<\/p>\n

Venue: BTM Kiscelli Museum, 1037 Budapest, 108 Kiscelli Street<\/p>\n

Opening hours: Tuesday\u2013Sunday, 10:00\u201318:00<\/p>\n

[\/vc_column_text][vc_separator type=”transparent” up=”20″ down=”25″][vc_separator type=”transparent” up=”20″ down=”25″]TICKETS<\/a>[vc_separator type=”transparent” up=”20″ down=”25″][\/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_separator type=”transparent” up=”20″ down=”20″][vc_column_text]\u201cMy art\u2019s fundamental conceit is the evocation of mass; the detail engages me only insofar as it heightens, renders perceptible, and reinforces the rhythm of mass. In portraiture I seek out the directional lines of the forms; the particulars must be merged into these lines, that thereby I may more powerfully express the character of the individual. I often enclose my figures in drapery, stripped of all naturalistic intent, so that both the group as a whole\u2014yet also the essential character of each individual figure\u2014may assert itself more powerfully. In composition likewise, it is always the totality, the mass, that concerns me; I start from the mass, never from the individual element, and I subordinate detail to mass.\u201d (M\u00e1ria K\u00f3sa)<\/p>\n

Though she was a significant artist of the interwar period, M\u00e1ria K\u00f3sa is still relatively little known today. There are several possible reasons why her work did not enter the art historical canon: her early, tragic death, her dispersed\u2014presumably partly destroyed\u2014oeuvre, and the shift in artistic taste and values following the change in art policy after 1948.<\/p>\n

Part of her estate\u2014patinated plaster small sculptures, as well as graphic works (lino- and woodcuts)\u2014were donated to the Kiscell Museum \u2013 Municipal Gallery through the generosity of the descendants of the Moln\u00e1r family and the later families of her husband Gy\u00f6rgy K\u00f3sa. In recent years, our collection has been complemented with additional graphic works and documents, and further materials have also surfaced in private collections.<\/p>\n

Since only few direct sources survive regarding the social and artistic relationships of M\u00e1ria K\u00f3sa, we primarily rely on the work and legacy of her husband, composer and pianist Gy\u00f6rgy K\u00f3sa, to reconstruct the milieu in which she found inspiration, created her works, and engaged in artistic and social interactions. Within these circles, music likely played a central role, along with the revival of passion plays and mystery plays in the interwar period, as well as movement art\u2014combining free dance, modern female gymnastics, and avant-garde theatrical experiments. The family\u2019s deepening of faith and engagement with spirituality may also have been significant influences.<\/p>\n

All of this justified presenting, within the framework of a solo exhibition, a more complete picture of an artistic career that can only be reconstructed from fragments.
\n[\/vc_column_text][vc_separator type=”transparent” up=”20″ down=”20″][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″ down=”20″][vc_text_separator title=”FEATURED WORKS” border=”no”][vc_separator type=”transparent” up=”20″ down=”20″][vc_separator type=”transparent” up=”20″ down=”20″][vc_gallery type=”image_grid” images=”25035,25038,25060,25041,25029,25047,25044,25026,25020,25050,25023,25053″ column_number=”4″ grayscale=”no” images_space=”gallery_without_space”][vc_separator type=”transparent” up=”20″ down=”20″][vc_separator type=”transparent” up=”20″ down=”20″][vc_column_text]M\u00e1ria K\u00f3sa often turned to biblical themes. In her works, she was equally concerned with interpersonal relationships and with the human relationship to the transcendent. Her sculpture is shaped both by Expressionism and Symbolism: it conveys powerful emotions while the central concern of her art lies in the rendering\u2014and the very possibility of rendering\u2014the layers of meaning concealed beneath the surface.<\/p>\n

Alongside sculpture, she produced woodcuts and linocuts arranged in cycles, printed by hand, and bound in unique folders\u2014not intended for commercial sale. These works include biblical and personal themes, as well as humorous animal fables. She also wrote librettos for two of her husband\u2019s compositions, demonstrating her artistic versatility.<\/p>\n

M\u00e1ria K\u00f3sa came of age during the years of the First World War and lived and worked in a period marked by significant political, social, and cultural tensions in its aftermath. This era\u2014heavily burdened with revolutions and the consequences of the Treaty of Trianon\u2014was defined by revisionism and irredentism, which permeated everyday life, public education, and material culture alike. At the same time, antisemitism, of which she would later become a victim, increasingly shaped public discourse and civic life.<\/p>\n

By the early twentieth century, artistic careers had become formally accessible to women, yet the institutional and market conditions available to them remained far more limited than those available to men. Wars and political upheavals disrupted artistic trajectories: works were lost, estates dispersed, and, as tastes and values later shifted, the work of many artists was pushed into the background.<\/p>\n

A large part of M\u00e1ria K\u00f3sa\u2019s sculptural and graphic legacy has been preserved, miraculously, thanks to the K\u00f3sa family and the family of \u00c1gnes Moln\u00e1r. In the 1980s, Anna K\u00f3sa (n\u00e9e Kepes) donated works to the Municipal Gallery. Thanks to the families, recent research has, for the first time, given us the opportunity to reunite previously dispersed materials and reveal connections within M\u00e1ria K\u00f3sa (Moln\u00e1r)\u2019s artistic career that have until now remained hidden. This exhibition seeks to affirm the continued relevance of her work, even a century later, and to reintegrate her into the narrative from which she was long excluded due to historical circumstances and subsequent shifts in various aspects and emphases of art.[\/vc_column_text][vc_column_text]Moln\u00e1rn\u00e9 Eszter Acz\u00e9l, L\u00edvia P\u00e1ldi curators of the exhibition[\/vc_column_text][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″ down=”20″][vc_separator type=”transparent” up=”20″ down=”20″][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=”normal” up=”20″ down=”20″][\/vc_column][\/vc_row]<\/p>\n","protected":false},"excerpt":{"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\/4″][vc_single_image image=”25017″ img_size=”medium” alignment=”right” qode_css_animation=”” el_class=”nagyitas”][\/vc_column][vc_column width=”3\/4″][vc_column_text] RHYTHM OF MASS Solo exhibition of M\u00e1ria K\u00d3SA (ne\u00e9 MOLN\u00c1R) (1899\u20131945) [\/vc_column_text][vc_separator type=”transparent” up=”20″ down=”25″][vc_column_text] April 23, 2026 \u2013 September 6, 2026 Curators: Eszter Moln\u00e1rn\u00e9 Acz\u00e9l, L\u00edvia P\u00e1ldi Venue: BTM…<\/p>\n","protected":false},"author":7,"featured_media":25074,"parent":0,"menu_order":0,"comment_status":"closed","ping_status":"closed","template":"","meta":[],"yoast_head":"\nRhythm of Mass - Solo exhibition of M\u00e1ria K\u00f3sa (ne\u00e9 Moln\u00e1r) (1899\u20131945) - F\u0151v\u00e1rosi K\u00e9pt\u00e1r<\/title>\n<meta name=\"robots\" content=\"index, follow, max-snippet:-1, max-image-preview:large, max-video-preview:-1\" \/>\n<link rel=\"canonical\" href=\"https:\/\/fovarosikeptar.hu\/en\/rhythm-of-mass\/\" \/>\n<meta property=\"og:locale\" content=\"en_US\" \/>\n<meta property=\"og:type\" content=\"article\" \/>\n<meta property=\"og:title\" content=\"Rhythm of Mass - 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