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Miklós Ybl (1814–1891) bicentenary
Scientific conference and exhibitions on the occasion of the bicentenary of the architect’s birth
2014 was declared Memorial Ybl Year in honour of the outstanding 19th century architect of Hungary, Miklós Ybl for the bicentenary of his birth. From among the related scientific programs the below paper summarizes the conference entitled “His Life-style: Architect”, introduces a small exhibition of Ybl plans connected to the buildings of the Academy and preserved in the Art Collection of the Hungarian Academy of Sciences as well as his oeuvre exhibition. It also reports on the restoration of the Castle Garden Bazaar, a row of edifices along the Danube at the foot of the Royal Castle. Following this account, Acta Historiae Artium carries the texts of five presentations at the conference.
The theatre plans of Miklós Ybl are outstanding examples of the 19th century theatre types. Their analysis provides an overview of Ybl’s oeuvre expanding in theatre architecture. The theatre plans under evaluation give the opportunity for a brief overview of the main tendencies of the theatre architecture in the 19th century, too. The plans of Ybl cover a wide spectrum of the Hungarian theatre architecture as a result of the fact that in his professional activity he had numerous opportunities to participate in the planning of such multifunctional buildings, much challenging to architects of all times.In this article by presenting the individual types of theatre their design procedure is analysed in particular from the point of view of their functional arrangement and the space forming. When studying the evolution of the Hungarian theatre architecture and Ybl’s role in it attention is to be paid to the activity of the significant European architects, the works of whom Ybl had the opportunity to get acquainted with during his foreign studies and trips. The focus is on the pieces of work that had an impact not only on Ybl but through his activity also on the entire Hungarian theatre architecture.A comprehensive analysis of Ybl’s theatre plans has not been provided yet. In this article the significant theatres with available plans, poorly investigated earlier, are also presented. The analysis reveals the relationships significant both in Ybl’s oeuvre and in the evolution of the Hungarian theatre architecture. It also presents the progress starting from the wooden structured summer theatres throughout the urban public theatres reaching its climax in the Opera House with its functional complexity. What can be detected in all the presented works is the series of advanced architectural solutions that designate Ybl’s prominent place in the Hungarian and European theatre architecture.
Komárik-Sisa 1991 - Komárik, Dénes - Sisa, József: Miklós Ybl (1814–1891). In: Kat. Ybl Miklós 1991, 191–194. Sisa J. Ybl Miklós építész 1814
His life-style: Architect. Miklós Ybl, the confidant of the Academy
Einleitung zu der wissenschaftlichen Konferenz und der Kabinettausstellung in der Kunstsammlung der Akademie anlässlich des 200. Geburtstages von Miklós Ybl, gehalten am 8. April 2014
This introduction is the edited version of the opening speech delivered at the scientific conference and exhibition commemorating the bicentenary of Miklós Ybl’s birth (1814–1891). As the first representative of the professional architect emancipated from the guild organization, Ybl still enjoys a quasi symbolic prestige in the Hungarian architectural community. Instead of becoming a member of the Hungarian Academy of Sciences, he owed his success and great influence — upon determining the stylistic character of the Hungarian capital, Budapest from 1873, for example — to the confidence placed in him by the liberal aristocrats who played a leading role in the management of the scholarly institution. Since in the early 20th century the historicism of renaissance inspiration which he represented was discarded as eclectic academism, and in the decades of socialist realism the style was condemned for class-struggle reasons, it was only in the past two or three decades that the positive evaluation of the principle of style choice and pluralism of styles could gain ground. The paper stresses the continuity of neo-classicism and historicism reviving the gothic and the Romanesque styles as well as the neorenaissance mode in the tradition of the academic theory of architecture. It does not deny the importance of function but reckons with an iconological interpretation of function which is contradictory to 20th century functionalism.
Besides a great number of public and private buildings in cities, in the course of his long career Ybl designed several country houses. Their number is ten, but the authorship of many more structures of this kind were traditionally attributed to him. In this article attempt has been made to establish the substantiated attributions. Ybl designed country houses mostly at the beginning of his career, and primarily for a group of patriotic-liberal aristocrats. These patrons and the location of their houses are the following: Count Lajos Batthyány, Ikervár; Count Pál Zichy, Nagyhörcsök; Count Ede Károlyi, Füzérradvány; Count Béla Wenckheim, Fás; Count János Waldstein, Várpalota; Baron József Csekonics, Zsombolya; Count Ödön Lónyay, Bodrogolaszi; István Bittó, Drávafok; Count Frigyes Wenckheim, Szabadkígyós; Count Gyula Károlyi, Parádsasvár. In this field Ybl resorted to styles that he otherwise seldom cultivated, such as Neo-Gothic and German Neo-Renaissance, and for the shape of the buildings, he preferred the elongated oblong.
The first prominent creation of the Hungarian romantic architecture is Count István Károlyi’s (1797–1881) church in Fót. It attributes to its importance that it was designed by the young Miklós Ybl (1814–1891), and the similar artistic principles and imagination of the Maecenas and the architect created a harmonic set of buildings (church, parsonage, school). The study outlines the known facts of the church, and based on those, attempts to assemble the church’s iconography and chronology.
Ybl Miklós (1814–1891) még a 19. század első felében született építészeknek ahhoz a generációjához tartozott, akiknek az egyre bomló, de még fennálló céhes rendszerben és céhes hagyományok közepette kellett megszerezniük a tervezés és építés jogát. Pályája alakulásában így nagy szerep jutott Pollack Mihálynak (1773–1855), akinél inaséveit töltötte az 1830-as évek első felében, majd a magyar földön is tevékenykedő, bécsi Heinrich Kochnak (1781–1861). A fiatal Ybl, amíg nem vált a céh teljes jogú tagjává, az édesapja nyomán szintén építész, és mesterjoggal rendelkező Pollack Ágostonnal (1810–1872) társulva próbálkozott meg saját praxisának kiépítésével. A néhány évig tartó társulás legjelentősebb épülete az ikervári Batthyány-kastély. Ekkor kezdődött Ybl munkakapcsolata a Károlyi családdal. A fóti megbízások, majd azok nyomán az uradalmi építészi státusz biztosította a fiatal építész megélhetését, valamint az arisztokráciával való kapcsolatépítés lehetőségét. A Pollack Ágostonnal való társas viszonya legkésőbb 1850 körül megszűnt. Pollack Mihály fiának tevékenységében a kis és közepes léptékű tervezési és építési feladatokról egyre inkább csak a kivitelezésre került át a hangsúly, majd Pollack Ágoston az 1860-as évek közepén teljesen felhagyott az építészettel. Ybl Miklós és a Pollack család kapcsolata azonban nem szakadt meg, a neoreneszánsz legnagyobb hazai mestere tervezte Pollack Mihály sírját, és árván maradt unokáját is örökbe fogadta.
Épületkutatás és építészettörténet – Néhány újkori és 19. Századi épülettípus kutatásának módszertana és eredményei
Habilitációs tézisek
Building archaeology and architectural history – Research methodology and results of some early modern and 19th century building types
Habilitation thesis
. 5.2. Krähling 2014 Krähling , János : Die evangelische Kirche von Miklós Ybl in Kecskemét . Acta Historiae Artium 55 ( 2014 ) 177 – 192
A magyarországi romantika egyik legjelentősebb alkotása a mára romokban heverőnagyhörcsökpusztai Zichy-kastély, ismertebb nevén Annavár. A korábbi XIX. és XX. századi szakirodalom a kastély tervezését Ybl Miklósnak tulajdonította, Wéber Antalt mint az átalakítás tervezőjét említette. E téves álláspontot a tervtári anyag átvizsgálásával és a helyszín alapos bejárásával sikerült cáfolnunk. Az Ybl-hagyatékban található nagyhörcsökpusztai tervlapokat –az ábrázolt átalakítások követésével –sikerült időrendi és tematikus rendbe foglalni. A Wéber által 1852-től tervezett és Ybl elképzelései szerint az 1860-as években átalakított kastély elemzése a főúri háztartás és a stílus szempontjából is érdekesnek bizonyult. A terv- és felmérési rajzok sorozatán egy olyan főúri lakóhely képe bontakozik ki, amely a gyakori változtatás során, a fiatal és még nőtlen gróf Zichy Paulai Ferenc házasságával gyökeresen átalakuló és feleségének, Kornis Anna grófnőnek egyre növekvőigényeitől generált, összetett háztartást mutat. A megrendelői elvárások rutinos ismeretében Wéber –elsősorban a társasági funkciók kapcsolásakor –már a korai tervváltozattól egy olyan előremutató térkompozíciót érlelt ki, amely évtizedekre követendőpéldául szolgált kortársai számára is. A gótizáló romantikus kastély stílusvizsgálata további bizonyítékokkal szolgált arra, hogy Wéber nemcsak az elsőépítési fázis, hanem az épület teljes összképet meghatározó tervezője volt.
Két sírkápolna a történelmi Veszprémi Egyházmegyében: Békás és Szőlőskislak – Ybl Miklós és Ágoston József Művei
Two sepulchral chapels in the historical Veszprém diocese: Békás and Szőlőskislak – works by Miklós Ybl and József ágoston
The research was triggered off by the documentation of the building history of the mausoleum of the Brüll family in the neolog Jewish cemetery in Kozma street, Budapest. The revived antique, in ante temple style mausoleum erected over a crypt was completed in 1902 as the joint work of architect Kálmán Gerster and sculptor Alajos Stróbl. The interior of the cell is adorned with a fine floral mosaic composition (cartoon by Ferenc Lohr).
At Békás in Veszprém county the sepulchral monument of the founder of the Society of Hungarian Engineers and Architects was unveiled in the Békássy–Hollán mausoleum in 1903. The periodical Művészet reported that the frescoes were painted by Dezső Kölber after cartoons by Károly Lotz. Documents in the Archives of the Veszprém Archiepiscopacy and Collegiate Chapter reveal that the chapel built in revival gothic style was consecrated on the day of the Sacred Name of the Virgin, on 12 September 1869, so that masses could be celebrated for the salvation of the departed souls. The church demanded that the builders provide guarantees for the survival of the chapel “until the end of time”. The architect’s name is not put down, but the article of 1903 expressly names Ybl as the planner of the funerary chapel, which has not been listed in his oeuvre so far.
During an assessment of art historical values we came across the ruins of the Ágoston–Kacskovics family’s mausoleum on the edge of Balatonboglár, in Szőlőskislak. Until 1993 the diocese of Veszprém also included Somogy County. The remains of the archaizing building displays several remarkable elements. One is the set of wall-lining bricks stamped with the initials LNJ, which are undoubtedly from the brick-yard of the architect Ödön Lechner’s family in Kőbánya. The other is a glazed, ribbed-surface ornamental brick type arranged around the red triangular limestone symbolizing the eye of God in the pediment. Earlier, this brick type was known on the St. Ladislaus church in Kőbánya and the façades of the Museum of Applied Arts (1896) both planned by Lechner. The floor pavers – produced by Wienerberger – were acquired in Vienna. It is again the obligation for maintenance in good condition that accounts for ample documents kept in the Archiepiscopal Library, which reveal that the crypt was consecrated in 1883, the chapel in 1884, on the feast day of Saint Ignatius Loyola. The erection of the chapel might have been related in connection with the re-burial here of landowner Ignácz Kacskovics, lord lieutenant of the county (and maybe with the change of the manorial centre). The use of the Lechner “design” bricks here precedes the well-known examples by a decade. The building was designed by József Áoston of Kisjóka, who qualified as an engineer from the Technical University of Budapest in 1875.
In the central cemetery of Pécs there are two similar historicizing family mausoleums close to each other. The classicizing monuments also displaying motifs of the Jugendstil were built in 1909 (and later?) from the terracotta elements of the Zsolnay Factory of Pécs. The mausoleum of the Nagy family who played an important role in the life of the city is still privately owned. The other one underwent a strange metamorphosis in 1963, as it was not redeemed again. The party committee of the city decided to convert it into a labour movement pantheon, and had the cross surrounded by palm branches in the pediment replaced by the red star. (The classicist character suited the socialist realist ideal of the fifties.) Their conservation in their current form is justified.
