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

Márta Péter

Periods in European Applied Aris. Between 1988 and 1992, four large exhibidons displayed selections of the best pieces in the Museum's collections, representing first Renaissance and Mannerism, then Baroque and Rococo, followed by Erom Classicism to Biedermeier and closed by Historicism and Eclecticism. Each member of the series displayed about 500 works of art, accompanied by scientific, bilingual catalogues for die first time during the 100 years of the museum. We may learn from die colophons of die catalogues, available in Hungarian and English, that Márta Péter was the exhibition organizer and editor of the catalogues. In fact, she was the "general servant" of these exhibitions: die initiator and administiator, supervisor and corrector, organizer and technical staff in one person. Her deep knowledge of art history and refined theoretical cducation-which she never displayed in essays-, coupled with her exception work ethos empowered her to be the perfect person the accept die challenge of these exhibitions. Yet her perfectionism was never oppressive, because she was a maximalist with herself only; from otiiers, she expected normal and acceptable achievement. She was not a martyr but an enthusiast for her profession. Official appreciation is often schematic, portraying the subject as a two dimensional figure. We few who knew her should stress that she was not an abess of the museum. Or radier, she was not allowed to devote herself to only one goal. Outside work she was a housewife responsible for several generations. For long years she was the happy and settled wife of the Hungarian poet István Kormos. After his death she was his unhappy widow, the caretaker of his literary bequest, who, with strict reserve, never showed any of her personal feelings. 1 icr private life was always closed to the public. With her exceptional achievements, she was a remarkable representative of homo museologicus. We can never tell, and she did not tell us, whether this deep sense of vocation and sacrifice for others gave much or less happiness to her. What we know is that she died at die age of fifty-one, with brutal rapidity, and we are also well aware that her oeuvre is a significant and organic part of die Budapest Museum of Applied Arts. Gyula Rózsa