Vadas József (szerk.): Ars Decorativa 11. (Budapest, 1991)

STURCZ János: Maróti Géza pályaműve a Rockefeller Centerhez

general. In fact, he did not merely illustrate the program as most of the commissioned artists did but gave an interpretation as well. (Though there are some coincidences with Faulkner's picture, such as the central position of Intelligence, the triptychlike structure, the illustration of the workers and the annunciator figures.) 65. For the sake of totality, he uses the inscriptions „Micro- and Macrocosmos", rather accidentally. With a slight effort, one might also gather the five elements of alchimism in the picture. 66. The following instruction can be read on the preparatory sketch: „Half inch scale. The mosaic is 72 feet wide. Flat relief figures, covered with gold in gold mosaic. Background silver (argenlo grannuloso) - frame flat profile ceramic. 67. This trend was exceedingly influential in the contemporary USA. At that time, Rivers and J.M.Sert were painting the frescos of the RCA Building, the main house of the RC; while Orozco was also living and working in New York. The American masters of socialist realism, e.g. Ben Shan, were also quite popular. However, the style of the above masters are dominated by expressionism, while the „marchers" of Maróti are closer to naturalism. 68. This might explain why he chose to use the Prometheus panel, which had a fairly important role in Napoleonic iconography (see for example Ingres: The Apotheosis of Napoleon, 1853; Girodet: A Tribute to Napoleon, 1802; Rude: Napoleon Awakens to Immortality, 1847; cf. W. H of mann, cited above, from p.140 on.). He applies the Orpheus motif, which is also universal and bears the attributes of the bermensch, for the same reason. The size of these gigantic figures matches the size of telecommunication.