Vadas József (szerk.): Ars Decorativa 12. (Budapest, 1992)

HORVÁTH Hilda: Marcel Jean textiltervei a Francia-Magyar Pamutipar RT számára

20-27. Biedermeier patterns 20. KRTF 2178 12.5x12 cm p.tempera, white cover paint marked 21. KRTF 2186 16.5x14.5 cm p.tempera, white cover paint marked 22. KRTF 2187 14.5x13.2 cm p.tempera, white cover paint marked 23. KRTF 2189 23.7x20.5 cm p.tempera, white cover paint unmarked 24. KRTF 2195 20.5x19 cm p.tempera, white cover paint marked 25. KRTF 2196 20x18.5 cm p.tempera, white cover paint marked 26. KRTF 2197 16.8x16 cm p.tempera, white cover paint marked 27. KRTF 2419/7 18x16.5 cm p.tempera unmarked The soft, refined, slightly feminine, bourgeois and sentimental Biedermeier style is recalled in the small, scattered pink, light blue, light green and yellow flowers and bunches, painted against a light background. The white cover paint emphasizes die elaborately painted small flowers. The sketches-due to the talent of the painter-radiate a special atmosphere. 28. Folkloristic pattern 28. KRTF 2177 16.5x15.5 cm p.tempera, white cover paint marked The colours and die technique connect this picture to die previous group; however, the motifs differ from die extremely light textile versions. Rose and tulip, the most frequent Hoar ornaments in Hungarian folklore, dominate the pictures in different light colours, against a pink base. The decoration found in Hungarian folklore is rich in flowers, its obvious influence on Marcel Jean's oeuvre is apparent not only in these motifs but also in his ambition to stylise—in folklore, (lowers are painted in accordance widi die talent of die painter and not with reality; plants are never painted from nature but from memory. 29-34. Stylised flower motifs 29. KRTF 2179 14.2x13.5 cm p.tempera, ink marked 30. KRTF 2190 25.5x22.5 cm p.tempera, ink marked 31. KRTF 2191 21.8x20 cm p.tempera, ink marked 32. KRTF 2192 20.7x18.3 cm p.tempera, ink marked 33. KRTF 2193 22x20 cm p.tempera marked 34. KRTF 2200 19x17 cm p.tempera, ink marked The three dimensional style is changed, die spontaneous composition vanishes, the huge, stylised, plain flowers are shown from the top, arranged in lines. No coherent, stiff compositional net can be detected yet; however, there is a certain kind of system in these pictures. All of diem are dominated by two or three clashing, bright colours widiout any shades {blue-red, green-pink, green-orange, lilac-red-grccn, piuple-greenish-blue-lilac, blue-brown). The motifs are lined by black contours, and separated by while stains that are to diminish die brightness of the colours and to give a special character to die pattern. The artist used a wide brush and applied a dynamic, generous technique when painting die petals and the leaves. Several drawings prove that tiiere had been a sketch in pencil, tiiough only die more important lines were drawn; the final pattern was created by brush. 35-37. Small, stylised leaves 35. KRTF 2176 12x10.6 cm p.tempera, ink unmarked