Wicker Erika (szerk.): Cumania 26. - A Kecskeméti Katona József Múzeum évkönyve (Kecskemét, 2013)

Helytörténet - Művészettörténet - Sümegi György: Járitz Józsa a Kecskeméti Művésztelepen

Sümegi György

IRODALOM

CZIGÁNY Magda

2002 Nyájas múzsákból öntudatos amazonok: nők a huszadik század művészetében.

Holmi, XIV. évf. 3. sz. március 309-325. Budapest

JÁRITZ Józsa

1969 Egy művész útja. Forrás, 1969/5-6. Kecskemét KECSKEMÉTI NAGY KÉPES NAPTÁR

1914 (Szerk.: Eötvös Nagy Imre.) Dr. Budai Dezső. 269-270. Kecskemét SÜMEGI György

1989 Vajdasági művészek a Kecskeméti Művésztelepen. Híd, szeptember, 1084-1092. Növi Sad

György Sümegi

JÓZSA JÁRITZ AT THE KECSKEMÉT ARTISTS' COLONY (RECONSTRUCTION - AN EXPERIMENT BASED ON THE DIARY OF JÓZSA JÁRITZ)

In the biographical summaries, catalogs and autobiography of artist Józsa Járitz (1893-1986), we read that the artist studied at the Kecskemét Artists' Colony in the summer of 1914. Her regularly handwritten diaries (owned by the Járitz family) inform us about the details. From them it came to light that she was admitted to the Art School of the Academy of Fine Arts (in 1912/13), but she also appeared as a painter student in the private schools of Oszkár Glatz and Béla Iványi Grünwald in Pest. From here a straight road led to the Kecskemét Artists' Colony ruled by Béla Iványi Grünwald. (She could also have been motivated by the fact that one of her sisters married dr. Dezső Budai, a law academy teacher in Kecskemét.)

Józsa Járitz studied and stayed at the Kecskemét Artists' Colony mainly with one of her painter friends: Franciska Pál, mostly in the summer and autumn months between 1914 and 1917. Besides Iványi Grünwald, she was also taught by Csaba Vilmos Perlrott, who replaced the leader of the Artists' Colony. At the same time she worked with Sándor Matykó, Jenő Pászk, Sándor Gulyás, László Kandó, Béla Farkas who are the main players included in the Járitz diaries.

The artist gives an honest account of the everyday life of the Kecskemét Artists' Colony overshadowed by the war, the relationships between each other, their social life (chats over a cup of tea and conversation), and of course about her own inner feelings, the development of her inner world, as well as her conflicts. In the most interesting parts of the diary she writes about the creative process of her art, about the motives of the birth of her compositions and their effect on the environment (family members, artist colleagues). The selection of compiled text from the Járitz diaries follows the development of her stages from an art student to becoming an artist until 1917, through to the maturity of the final year at the College of Fine Arts in 1921-22.

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