Bács-Kiskun megyei aprónyomtatványok 1981-1985

1983

till 1924, when he moved to Paris with his wife. His works reflect the effect of French education and cubism: "World in the dephts of waters", "Literary Still-Life", published in "Correspondence book" and other pictures. His works are charasteristic of anxiety and fear. (Dissonant colours, expressive distortion of figures, faces without eye ("Grandmother and child") all highlight it. ("Around the Red Table", Old sailor and old woman", "Young, drunken poet with his mother") His landscapes are the same. ("Sunset") Only his illustrations and aqarelles are different. After his father's death in 1932, István Farkas returned home and took over the company. He had less time for painting, but he is able to renew himself.("Composition") During World War II. he was carried off to Auschwitz, where possibily died.

Baron László Mednyánszky /1852-1919/ was born in Beckó. His father and uncle participated in the war of independence in 1848. In 1872 he studied engineering in Zurich, and from 1872 to 1875 studied painting in Munich and Paris.

In the 1890-s he painted fromdirect observation in France. Barbizon, Normandy, Bretagne, Marseille, in the suburbs of Paris, where he met people beyond the pale of society: "Sitting in the inn", " Bending over his arms", "Down and out". He emphasizes his figures with red colours, concentrating on their faces, without detailed background.

He uses light effect in his landscapes as well. In nis "Lake Velence" a red lightpoint flickering between the hazy dark foreground 3nd the sky outlines the horizon . The third group of pictures was painted at the fronts of World War I., where he worked as a war-drawer, painting "sufferings of the man".

In "Annihilation", painted in 1917, ochre-red human bodies dissolve in turquoise -green nature. His activity culminates and ends in these paintings. We can approach the first floor halls through two stairways, where periodic exhibitions, stores, offices are placed now. The ornamented front stairs lead to the main hall called "Pávás" (Peafowl), whose ornamentation has peafowles as decoration. It was the ceremónia hall of Commercial Casino earlier. They were planned to be of Zsolnay-pottery, but because of money, they are made of painted stuccoes. The stuccoed, arched wall is disconnected from the blue ceiling by potteries and mirror plates are aiso framed by them. The two copper candeliers with blue Tiffany-glass also belong to the former furnishing. As the whole building, the ceremonial hall was renovated considering its character. The periodical exhibition exhibits Hungarian art of the beginning of this century. The museum delivers lectures, performances on this floor.

On the second floor we have an exhibition of Menyhért Tóth /1904-1980/,whose life-work was left for the century, which supported him first in middle of 1970-s. Menyhért Tóth was born in Szeged-Mórahalom on 2 January,1904, but he

lived in Miske from the age of 5. This village was his source of art. He attended Fine Art Collage from 1929 to 1935 under bad conditions, where his teachers were Dános Vaszary and István Réti. After his graduation he returned to Miske. As he couldn't live his art, he worked as a farmer, house-painter and accordion-player. We have an exhibition of his walk of live, arranged by Dr.. Pál Bánszky. In the foreground his illustrations can be seen, from his charcoal sketches at the college to his later compositions. The collection consist of 8000 illustrations. His works reflect faith and love toward any living creature. In his first period (from the 30-s to the 50-s) he uses traditional pictures of expressing his faith: Madonna, Christ's figure.After 1945, he was not interested in these topics anymore and painted about everyday life. Because of his way of life his pictures reflect authenticity in comparison to the official style of the era. ("Accordion-player,1952", "Girl with a coch,1956"). His second period /196Q-1970/ started with his sequence of portraits. The colourful, groiescue heads are painted with love. Figures are dissolving to each other. ("Cat-girl,1962","The good herdsman,1962") He considered every creature to be equal, which can be seen in his man-animal relations. In his last period his tone became lighter, emphasizing light and shade contrast. His topics- everyday life or the world of the south seas- reflect universal character. He often painted mother-figure embracing her child, as the symbol of love and harmony. ("Eternal maternity,1974"/'Farmers 1971") The same is true of his picture "Gea", where the human head symbolizes celestial body. The round head of his late period is the symbol of pureness and perfection .

Also on the second floor we can see an exhibition of Hungarian painting between the two World Wars.

Returning to the realistic traditions can be seen not only in the colony of artists in Kecskemét. "Eating grapes" /30-s/, a picture of Róbert Serény, who is one of the painters of "Circle of 8", has a lyrical, meditative spirit and colourness. The pictures of Imre Amos /1907-1944/, Margit Anna /1913- /, Jenő Gadányi /1896-1960/ and József Egry /1883-1951/ were taken from the esta te of Ferenc Glücks. "Self-portrait with bars" and "Christ with bars" of Egry are real materpieces.

István Nagy /1873-1937/was born in Transylvania. After teaching a few year in Homokmégy, he attended Oesigning School, the Academy in Munich and Julian- School in Paris. He considered his best school Nature. He was looking for the spirit of things, he used charcoan crayon. During the war he also worked as a war-drawer. He painted shocking portraits of fighting soldiers ("Militiaman,1916" "Militiaman I-II.") and developed his style.