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Két eddig közöletlen terrakotta szobor a Szépművészeti Múzeum Antik Gyűjteményében a Fekete-tenger partján fekvő Kallatisból, a mai Mangaliából származik. Részletes elemzésük alapján a Kr. e. 2. század második felére - az 1. század első negyedére keltezhetők. A helyi terrakottaműhelyek történetének áttekintése a 4. századi kezdetektől azt mutatja, hogy a Római Birodalomba való integrálást befejező, a Kr. e. 1. század közepére keltezhető feliraton fennmaradt szerződést megelőző másfél száz évben virágzott a helyi produkció, és egyik fő eszköze volt a görög és nem görög lakosság közti kulturális különbségek kiegyenlítésének. A Szépművészeti Múzeum Antik gyűjteményében őrzött terrakotta fej bemutatása, besorolása a samnis művészetbe. Rokonsága a Schiavi d'Abruzzo szentélyében talált fogadalmi ajándékokkal. Ezzel kapcsolatban megjegyzések a településeken kívüli szentélyek jelentőségéről az italikus népeknél, a samnis művészet néhány jellemző vonásáról és a samnis kultúra eltűnéséről a római hódítás után.
„Megbízottam szoborral hétfőn este indul…” Az egervári Straub-szobrok múzeumba kerülésének és másoltatásának története dokumentumok tükrében
“My agent starts with the statue late on monday…”The museum acquisition and replication of the straub statues of egervár as revealed by the documents
The rococo wooden statues of St Sebastian and St Roch were purchased by the Museum of Fine Arts in 1916. Earlier they had adorned the high altar of the church of St Catherine of Alexandria in Egervár (Zala county) flanking the tabernacle. Their first researcher, Mária Aggházy attributed them to the Graz sculptor Philipp Jakob Straub (Wiesensteig 1706–Graz 1774). The Egervár church of mediaeval origin belonged after the Ottoman era to the advowson of the Széchényi family who had trade and art relations with Styria, too; they had the church rebuilt and furnished in baroque style in the mid-18th century.
As part of the contract of sale, the museum undertook and financed the making of exact copies of the statues to replace the original ones on the high altar, where they still are. It can be reconstructed from the correspondence of 1912–’22 preserved in and Museum of Fine Arts Archives and the Archives of the Diocesan Archives in Szombathely that probably little before 1912 the statues were transferred to the Szombathely episcopacy for conservation. Bishop János Mikes had them restored and maybe also exhibited. Their sale became necessary for the parish to be able to renovate the deteriorating Egervár church. The deal was concluded with an ordinary procedure, but World War I and the inflation it entailed greatly protracted the making of the copies and boosted the costs. Eventually, the replicas were completed in two phases by teachers of the National Royal Hungarian School of Applied Arts, sculptor Sándor Matéka (St Sebastian) and decorator and furniture designer Béla Kajdy (St Roch).
Egy bajor udvari festő nyomában Magyarországon: Johann David Werl Szőlős Madonnája
In the wake of a Bavarian court painter in Hungary: Johann David Werl's Madonna of the Grapes
. 13. Olaj, vászon, 227 × 143 cm. 14. Ltsz.: E.20.28. Hoffmann E.: A Szépművészeti Múzeum néhány németalföldi és német rajzáról. Az Országos Magyar Szépművészeti Múzeum Évkönyvei 5. 1927–28, 123. skk
Barabás Miklós első Széchenyi István-képmása 1836-ból
Miklós Barabás’s first portrait of István Széchenyi from 1836
In the study I explore the relationship between the popular reformist politician of the first half of the 19th century István Széchenyi (1791–1860) and the painter Miklós Barabás (1810–1898). Miklós Barabás of Márkusfalva returned to Pest from a study tour of Italy in late 1835. He had an immense amount of sketches from his travels, and hardly any clients to sell to, so he tried to make acquaintances through the prominent figures of literature. His first commission was to paint the portrait of the poet Mihály Vörösmarty. During this commission he got acquainted with Antal Tasner, Count István Széchenyi’s secretary, who directed the count’s attention to the young painter. In this period several important institutions were associated with Széchenyi: he made a donation for the establishment of the Scholarly Society (the later Academy of Sciences), he took part in founding the National Casino in Pest, and had an active role in the work of the First Danubian Steam Shipping Company. From the end of the 1820s he wrote and published four books: Lovakrul [On Horses], Hitel [Credit], Világ [World/ Light], Stádium [State/stage of development]. His portrait was popular and in high demand. In 1835 eight different drawings and paintings were made of the politician. The aldermen of four counties – Hont, Bihar, Nógrád and Sopron – wished to acquire a portrait of him each. In response to the request by Bihar county, Széchenyi recommended Miklós Barabás to paint the portrait and guaranteed that the painting would be a success.
Széchenyi and Barabás met in person in February 1836 when the portrait in the focus of research was made with the count sitting for it. This half-length portrait of the count in Hungarian gala costume was extended to full length portraits several times and sold to different clients.At the present stage of research the painting ordered by Hont county (in the Mining Museum, Selmecbánya) is the only original portrait in addition to the half-figure prototype, and the work for Sopron county is known in reproduction. The two depictions are iconographically connected by the black Hungarian gala costume and the motifs alluding to Széchenyi’s political activity (books on the table, steamboat in the background). After Széchenyi’s death in 1860 Pest county also commissioned Barabás to paint a full-length portrait of him. In the background of the painting of 1867 the construction of Chain-bridge is shown. The posture of the figure is, however, not so excellently set as in the earlier pictures. Barabás kept the first-painted half-length portrait with him to the end of his life. His heirs later sold it to Dénes Széchenyi, the grandson of István Széchenyi’s brother Lajos and it survived the vicissitudes of the 20th century in family ownership.
Around 1808–1810, during his time in Madrid, the Danish Ambassador Edmund Bourke may have purchased the painting of St. Bartholomew the Apostle by El Greco which later appears in the 1821 inventory of the Esterházy collection. The Scottish-born George Augustus Wallis was one of the earliest enthusiasts of El Greco; this is proven by a letter he wrote to William Buchanan in 1808, in which he describes the then-unknown Spanish master. The knee-length figure of St. Bartholomew is closely connected to the so-called Study of a Head in the Museum of Fine Arts, Budapest, which is a fragment of a painting of St. Bartholomew likewise originating from a series of Apostles.
