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„Klasszikus” új művészet. A gipszminták szerepe a szocreálban
“Classical” new art. The role of plaster casts in socialist realism
With the victory of the Hungarian Workers’ Party – the communist party – in Hungary in 1949 the “reform” of the institutions of tertiary education including the Academy of Fine Arts and Academy of Applied Arts took place, meaning their transformation upon Soviet models. In daily training, in teaching the techniques of drawing and painting, they returned to the copying of plaster casts, which had already been discarded by the free school of Simon Hollósy in Munich in the 1880s for the benefit of a naturalist approach. This principle was promoted further by the art colony of Nagybánya started in 1896, and it was the guideline when after 1920 the Academy of Fine Arts was reorganized. The traditional academic approach had its roots in J. J. Winckelmann’s Thoughts on the Imitation of Greek Works in Painting and Sculpture published in 1755, while the nature-centric thought of free schools could draw on J-J. Rousseau’s Émile, or on Education (1762). In the seething period of Soviet painting in the 1920s an increasingly strengthening current among the greatly diverse trends was the one announcing the slogan of “heroic realism”; it was represented primarily by the Society of Painters of Revolutionary Russia (AHRR). N. B. Terpsikhorov’s The first slogan was painted in 1924; it shows an artist painting the Leninian slogan All power to the soviets! on a red tapestry at the foot of the plaster replicas of the Venus of Milo and the Borghese gladiator.
In addition to the guidance provided by Soviet advisers visiting Hungary in the 1950s, several Hungarian artists could study at Russian academies; they recalled that the basis for learning socialist realism was precise draughtsmanship and the requirement that a work be completed. The demand for high quality socialist realism weighed down upon the teachers with mature ideas socialized in earlier decades and often receiving the badge of “formalism” and on students having to interrupt their art studies for the world war as unattainable. Making copies – in painting and sculpture – was not only part of the training process, but also satisfied the demand of public institutions for representation: replicas of several famous Soviet works, including portraits of Lenin and Stalin were ordered for decoration in buildings, and the program of a museum for the state collection of copies was also deliberated.
Raimond, a törpe. Megjegyzések Carlo Palme különös képéhez (1676)
Raimond, the Dwarf. Comments on Carlo Palme's Peculiar Picture (1676)
Abstract
The paper is concerned with a 17th century relic of French baroque painting meagerly represented in Hungarian private collections. The author has had a chance lately to directly examine the work known to Hungarian special researchers since 1966 as a work by a Spanish or French painter. As a result of the examination, the painter, the portrayed person and the client who ordered the picture could be identified. As the decoding of the that-time inscription on the back reveals, it was painted in 1676 by Carlo (Charles) Palme, an offspring of a dynasty of Lucchese painters born in Aix-en-Provence. The owner of both the painting and the portrayed person was an aristocratic lady in Aix-en-Provence, Madame de Venel born Madeleine de Gaillard de Longjumeau (1620–1688), who became known as the governess of Cardinal Mazarin's nieces Les Mazarinettes (the Mancini girls) as well as of the children of Louis XIV and the future king of Spain Philip V of the Bourbon house. The lady and her husband, Gaspard de Venel were among Mazarin's supporters. They served in the court of the queen mother Anne of Austria, then of Maria Theresa of Spain and her husband the Sun King. The full-length portrait of Raimond, the violinist with dwarfism set in a Provencale landscape is a rare artistic document of the centuries-old custom of keeping little people for entertainment at the French court, too. The wife of Louis XIV is known to have kept several dwarfs around her. The childless Madame de Venel, her lady-in-waiting had Raimond, and her husband also had a dwarf whose portrait is said by the sources to have also been painted, this time by another well-known Provencale painter Laurent Fauchier before 1672. This – now latent – painting had been kept tabs on in the collection of Madame de Venel's heirs (de Gaillard-Longjumeau line) until 1770 (in the inventory taken on 20 September 1770 it is designated: Tableaux: No. 3. Le nain de Monsieur de Venel). The Budapest painting helps clarify the relation between 17th century Provencale portraiture and the social role little people with dwarfism played in 17th century French society. The professional collaboration and the family relations of the two painter families of Aix, the Palmes and the Fauchiers, as well as their relationship with their patrons the Venel family can be discerned. But the career of another dwarf of Provence, Antoine Godeau (1605–1672), nicknamed “Le Nain de Julie”, “Le Nain de la Princesse”, a once celebrated poet, one of the founders of the French Academy, later bishop of Grasse and then Vence, proves that an achondroplasiatic body stature did not necessarily hinder social success. The Venel family who kept two dwarfs and had them portrayed by local masters chose a motto for the picturesque decoration of their residence in Aix from the love poetry of the dwarf poet: “Allez amours, à tire d'aile”. The up-to-date elaboration of the Aix portrait painter Carlo Palme is still a task to be done, but the portrait of Raimond, the dwarf of Madame de Venel dated 1676 now in Hungary can be ranged among the early pieces in his oeuvre.
Summary
A progress report on a research dealing with the attribution and localisation of a curious painting. The iconography, the motifs and the composition show many links with the pictorial tradition of the subject-matter in the Netherlandish art of the 15th-16th centuries. But the support is not the usual oak panel used there and the style is not to be linked with any known hand. The painting might have been painted by an emigrant or wandering Flemish painter either in France or in Spain, but it can not be localised exactly. It is an remarkable example of the radiation of Flemish painting and style in the mid-16th century.
A cikk a budapesti Szépművészeti Múzeum apuliai vázái közül azokkal foglalkozik, amelyek néhányalakos jelenetein a dionysikus, illetve az Aphroditéhez vagy Persephonéhoz köthető motívumok keverten fordulnak elő. A gyakran több szinten is jelentéssel bíró szimbólumok egyaránt kötődnek funeráris és házassági rituálékhoz, valamint az orphikus misztériumokhoz.
Búcsúzunk Harmatta Jánostól
(1917. október 2. - 2004. július 24.)
Az ókorkutatás legfontosabb feladatai közé tartozik, hogy korunk aktuális problémáinak megoldásához adjon segítséget. Az egyik ezek közül az akkulturációé, vagyis annak a vizsgálata, hogyan viselkednek az egymással érintkező, különböző hagyományokra épülő kultúrák e találkozás során. Egy másik az a kérdés, mit nyújthat a kortárs művészet megértéséhez az antik művészetek hagyatékának tanulmányozása, és ennek másik oldala: miben segítheti a modern művészet jelenségeinek ismerete az antik művészetek egyes vonásainak jobb megértését. A tanulmány a Szépművészeti Múzeum egy eddig közöletlen Kr. e. 700 körül készült etruszk vázájának formáját és díszítését elemezve kísérel meg legalább részlegesen választ adni a két kérdésre, és ennek során egy Veiiben dolgozó vázafestőnek műveiből kirajzolódó portréját próbálja meg felvázolni.
Egy másik Martin Schwarz – A budapesti Riemenschneider-Madonna festője
Another Martin Schwarz, Painter of the Madonna by Riemenschneider in Budapest
Abstract
Sive Marten Swarcz seu Martinus Niger alias Marcin Czarny, master of Veit Stoss's Cracow high altar – this is the subtitle of Miklós Mojzer's major two-part study published in 2006 and 2008 in which he identified Master MS and traced the roots of his work to Veit Stoss's Nuremberg and Cracow workshops. He mentioned in passing that at the very same time, in the 1480s, another winged altarpiece was being made in another important town of Frankonia, Rothenburg on the frame of which the following inscription can be read: Frater Martinus Schwartz die Sancte Marie Magdalene complevit. The altarpiece dedicated to the Virgin was once in the monastery of the Dominican nuns in Rothenburg and is now in the Germanisches Nationalmuseum in Nuremberg. Martin Schwarz was the guardian of the Franciscan monastery in Rothenburg from 1485 where he had his workshop fitted out. He was the local leader of the order until 1506.
Recent researches have proven that some statues carved by Tilman Riemenschneider were painted by Martin Schwarz. The starting point for indentification was the identity of the Pressbrokat on the St John figure of the Wiblingen altarpiece and on the clothes of the Virgin figure of the inscribed altarpiece. The same pattern can be found on the fragment of the attire of the Madonna preserved in the Budapest Museum of Fine Arts since 1923. Before the museum, the statue was in an altar shrine (now lost). The history of the altarpiece can be retraced with certainty to the village church of Schweinsdorf outside Rothenburg, but tradition associates it with the neighbouring imperial town.
Among the rich documentation on the furnishing of the Jakobskirche mention is made of an altar of the Virgin erected in 1495/96, which was carved by a sculptor of Würzburg – obviously Riemenschneider. The question arises whether the statue painted by Martin Schwarz and datable to the end of the 15th century according to the chronology of the Riemenschneider Madonnas belonged to this altar.
Adatok Hekler Antal pályakezdéséhez levelek Hampel Józsefhez, legifj. Szász Károlyhoz és Koronghi Lippich Elekhez (1904–1909)
Addenda to the beginning of Antal Hekler’s career letters to József Hampel, Károly Szász the youngest and Elek Koronghi Lippich (1904-1909)
Antal Hekler (1882-1940) was one of the central figures of Hungarian classical archaeology and art historiography in the first half of the 20th century. He began his career at the Hungarian National Museum and continued at the Museum of Fine Arts (where he laid the foundation for the Antique Collection), he organized the short-lived Hungarian Scientific Institute in Constantinople (1916-1918) and from 1918 until his death he headed the Art History Department at the Pázmány Péter University. The work of his pupils determined 20th century Hungarian art historiography.
The presented letters shed light on the start of Hekler’s career. After graduation in law, he changed professions. Upon his personal encounter with the art of classical antiquity he began studying classical archaeology; he was encouraged to do so by his family and friends, too. He enrolled at the university of Munich where he became one of Adolf Furtwängler’s favourite students. He obtained his doctoral degree under his supervision in 1907. During his studies he pursued correspondence with his patron in Budapest, József Hampel (curator of the Old Collection in the National Museum), informing him of the academic life in Munich, his researches, travels, forming scholarly contacts all over Europe. In Munich, then Paris, London, Italy he met the leading researchers, curators of leading museums. He did not only publish his research finding in German at that time, but the Archaeologiai Értesítő in Budapest edited by Hampel also carried writings by him. Back home Hampel took him on in the National Museum. (He participated in the excavations in Dunapentele [the ancient Intercisa] where he also wrote letters.) In addition to letters addressed to Hampel, some others written in Munich add information about the beginnings of Hekler’s career.
Falképek és kereskedők. Új dokumentumok Pulszky Károly firenzei vásárlásairól 1893 és 1895 között
Frescoes and art dealers. New documents on Károly Pulszky's purchases in Florence between 1893 and 1895
Abstract
It is well known that the core stock of the collection of the Budapest Museum of Fine Arts comprises works purchased by Károly Pulszky. Our knowledge of the director's purchases abroad is based on documents, invoices and letters kept in the Archives of the museum. A great part of these were published in the catalogue of the Pulszky Károly in memoriam exhibition (editor László Mravik, 1988). It revealed that the majority of works standing for the Italian school were bought from or through the good offices of Florentine art dealers between 1893 and 1895. The Pulszky family lived in Florence between 1860 and 1864. During that time the father Ferenc Pulszky visited the galleries of the best known art dealers such as Marco Guastalla and Alessandro Foresi. From the next decade, young Károly also appeared on the art market of Florence as a customer. In these years the sales and transfer of art works abroad were supervised by the regional office of the Rome-based Ministero della Pubblica Istruzione headed by the director of the Regia Reale Gallerie e Musei di Firenze. Ufficio Esportazione still active today was only established in 1909, but earlier export cases can also be researched in its archives. The export permits for art works to be shipped to Hungary in 1893–95 clearly reveal that Károly Pulszky also transported the works he had bought from local art dealers with the permission of this office.
The present paper highlights the export permits related to Pulszky's purchases of murals in Florence. The documents reveal that a somewhat larger number of frescoes came to the museum from Florentine art dealers than thought earlier, and our knowledge of the Italian fresco collection of the museum could be extended with some new information. It can also be specified whom Károly Pulszky bought works from, to whom he regularly returned in Florence. He had three permanent suppliers: Emilio Costantini, Achille Glisenti and Luigi Resimini. He made occasional purchases from another three dealers, Elia Volpi, Domenico Caligo and Sabatina Forti.
Abraham with his son Ishmael •
The iconography of Rembrandt etching B 33
. ANNA EÖRSI : Néhány jó szó christian wilhelm Ernst dietrich – és egy mellőzött téma – érdekében, in print: A Szépművészeti Múzeum közleményei – Bulletin du Musée Hongrois des Beaux - Arts 125 . 2022 . HANS MARTIN VON ERFFA : Ikonologie der
