Gyergyádesz László, ifj.: Kecskemét és a magyar zsidó képzőművészet a 20. század első felében (Kecskemét, 2014)
Jegyzetek
Gráber Margit: Akttanulmány/ Margit Gráber: Study of a Nude (1916) mond Móricz, Mihály Babits, Margit Kaffka and the volumes of Endre Ady), and the typography of the periodical as well. The prehistory of the Kecskemét artists' colony began with the “Neoist” movement unfolding in Nagybánya around 1905-06. “The term is collective, encompassing Van Gogh's distinct brush- work, Gauguin’s primitivism reducing motifs to homogeneous colour surfaces, Cézanne's systematic picture construction and the Secession- ism’s Japan-inspired cult of the line and penchant for deformation, and even the structure-centric approach of pre-cubism." It must be added that the influence of an indirect, tamed Fauvism was also significant. Amongst the founders and leading masters of the Nagybánya school it was Béla Iványi Grünwald alone who took the side of this “group” of predominantly young artists most of whom had attended the free schools in Paris (e.g. L’académie Julian, Académie Colarossi, Académie la Grande-Chaumiere), moreover, had displayed works at the unofficial Salon d’Automne and Salon des Independents. The target group of recruitment for Kecskemét was primarily the young Neoists. In the autumn of 1910 András Mikola also participating in such an event, noted that despite the “great apathy” prevailing in Nagybánya they were reluctant to leave it: “We walked along wide streets that appeared to be yawning with boredom; hardly anyone was seen. Then we arrived at the vineyards where endless rows of apricot trees and wine-poles were visible. In pictorial terms, I did not find this otherwise splendid fruit-growing culture captivating. Farther out of the town we came to sand dunes and in front of us was the vast expanse of the Great Plain. [...] Meanwhile, I was thinking of the beautiful places of Nagybánya, the gurgling brooks, fresh rampant vegetation, and I knew I could not live or paint here, I would die here! [...] I was overcome by anxiety and I thought the whole undertaking was thoughtless without a future, pressing for something that it had no natural endowments. The well-meaning and agile mayor was misled and the whole idea was concocted in a Budapest coffee house, without any moral inhibitions.” The founder and leader of the colony Béla Iványi Grünwald departed gradually not only physically but also in style from Nagybánya between 1906 and 1910. In 1906 he was influenced by his students who had come home from Paris and in 1907 Gauguin’s 56 works exhibited in the National Saloon also put a deep imprint on him. In 1907 he spent a short time in Szolnok, then openly sympathizing with those who wanted something new, he became one of the founders of MIÉNK. Around 1909 all of these were accompanied by secessionist-like stylization and together these elements provided the students and the artists working in Kecskemét with a clear direction. However, not everyone agreed with this statement at 53
