Gyergyádesz László, ifj.: Kecskemét és a magyar zsidó képzőművészet a 20. század első felében (Kecskemét, 2014)
Jegyzetek
cast framework was neither realized known on the basis of the plans designed by Komor and Jakab in Novenber 1908. The topic of the exhibition gives reasons for commemorating on Marcell Komor out of the other architectures working in Kecskemét who most tragically died at the age of 76 - being the son of the rabbi Salamon Kohn - in Sopronkeresztúr in a forced-labour camp on the 29th November 1944. Concerning city planning Kecskemét gained significant buildings from 1909 when a new tendency of the secessionist architecture appeared on the public buildings of the town until the outbreak of the First World War It was related to the group called “Young Generation” (e.g. Károly Kós, Lajos Kozma, Dezső Zrumeczky) whose members completed their studies in 1906-1908 at the Royal Technical University There were Valér Mende, Béla Jánszky and Tibor Szlvessy among them who played the most significant part in the town planning of Kecskemét. They got commissions from the town at their very early age, at the beginning of their twenties when they were most innovative and this perfectly describes the daring of Elek Kada (he was supported by Lechner as an advisor) and other commissioners. Tibor Szivessy of these young architects was Jewish and studied not only in Budapest, but exceptionally in Berlin-Charlottenburg then in Munich. At the end of 1909 or in January 1910 he entered into partnership with Béla Jánszky. They were the most often employed architects for three years. Among their works the pair of buildings of the former City Casino and the palace of the Agri-cultural Association in Rákóczi Street completed in December 1911 especially well represents the endeavours (asymmetry, divided windows, ornamentation deriving from folk art, wood-carvings and steep gable roofs) and models (the British Baillle Scott and Charles Robert Ashbee or the Finnish Eliel Saarinen, Hermann Gesellius, Lars Sonck) of the “Young Generation".The second lodging-house of the Catholic Church was built between 1910 and 1912 opposite the big Catholic Church. It was demolished in 1964 alluding to the financial conditions of the town causing irreparable damage and they had a monster built on the site in 1969 called the “Flouse of Lords”. “The roofing of the lodging-house was made of bauxite-concrete and later it became dangerous because the carrying capacity decreased and it needed renovation. Flowever the costs of the restoration should have been far too high.” There were sixteen tenement flats and the Ffoly Trinity pharmacy in the two-storied corner building similarly to the City Casino. As in the case of other buildings of the architects the artists of the local art colony worked here, but it will be advanced later on similarly to the building complex of the Műkert and the elementary school in the Mátyás Square. Furthermore, they created more other designs around 1912-1914 that were never built up (e.g. the boarding school of the Rural Flungarian Educational Society the Deaf-Mute Institution, the sepulchre of Elek Kada and the Saint Elisabeth Roman Catholic boarding school for young ladies). Hungarian Jewish painting in the collection of Kecskemét I. The donation of Marcell Nemes and the Artists’ Colony of Kecskemét Although the fine art collection of the Kecskeméti Katona József Museum (formerly called the Kecskemét Gallery) could move to its permanent home, the previously discussed Cifrapalota only in the autumn of 1983, the collected works are more than one-hundred years old. The first considerable group of artworks of the collection is owing to the most famous and the most outstanding and internationally noted Flungarian art collector and patron of the first decades of the 20th century. Marcell Nemes (1866-1930) was born as Mózes Klein in Jankovácz (from 1904 called Jánoshalma, today Bács-Kiskun County), his father Adolf Klein was the cantor of the local Israelite denomination. Fie moved to Budapest at a young age where he acquired a large fortune as a coal and wooden- ware wholesaler, mine and forest entrepreneur then as a land speculator. The activity of Nemes as an art collector started around 1904-1905 which he financed with loans and bank credits (supposedly Mór Lipót Herzog was his business partner as well). Flis collection soon became so significant that it was displayed at exhibitions in the Museum of Fine Art of Budapest (which was given donations by Nemes several times) in 1909 and 1910/1911, moreover, at the latter one the public at large could already encounter with some of the famous El Greco paintings (e.g. Repentant Magdalene; Christ on the Mount of Olives). ‘Art collection and the patronage of art in a wider sense - as means of status compensation and as a clear expression of the cultural union with 46
