Mészáros Júlia, N.: 35 éves a Győri Művésztelep. Történeti áttekintés, művek, életrajzi adatok, beszámoló a jubileumi találkozóról - Győri művészettörténet 4. (Győr, 2003)

N. Mészáros Júlia: A Győri Művésztelep működésének és alkotótevékenységének 35 éve

acceptance of creations offered by the artists with the aim of enrichment of the collection, but a direct organizing and social committee working mostly outside artistic fields (the members of the latter were a council architect, representatives of companies dealing with production or management as well as the heads of the Educational Department of the Executive Board of the the City Council of Győr and the Publicity and Art Department of the City Party Committee) which selected in a rather subjective way for lasting preservation the works they liked, considered comprehensible or still digestible, which could be presented to the audience. So several very important works created at this time got lost for the collection of Győr or at best they were included in the collection of other museums collecting contemporary art (e.g. Hungarian National Gallery, Modern Museum of Pécs, etc., the most important creations made here by István ef Zámbó, György Galántai, Valéria Sass, Tibor Csiky, Rezső Móder). Notwithstanding, the first large-size works, originated in the spirit of time for public sites and public buildings were designed in this period, some of which having survived the system or evaluation mentioned in connection with enrichment of collections, were actually realized and presented lastingly in the yard of some factory building, in the hidden place behind the the Sports Hall, landscaped surroundings of schools, public buildings and a new housing estate (e.g. the large-size plate sculptures by János Fajó and István Nádler, the concrete and stone sculpture by Tamás Trombitás and László Hefter, the chrome steel fountain by László Hefter as well as the Domino and the bronze mobile sculpture by István Haraszti).

The first three years of the second, preliminary period was spent in winning over companies to support, establishing the industrial background of regular sculptural activity, which was closed by the so-called RÁBA Symposium held in Győr in 1978, resulting further on in a period that was radically new from the viewpoint of the earlier activity of the symposium, although of varying intensity and standard compared with the dynamism of the first three years.

The first artistic ideas leading to the renewal backed by the local leadership with heart and soul were directed to sculpture designs and models and creation of sculptures to be erected in the city, plastic works decorating buildings, autonomous works for communal purposes.

There occured, however, countless problems in connection with the concrete realization of the large-scale new conception conncentrating merely on the sculptural creative activity that could not be solved by the organizers and their supporters, such as raising the high costs of making and erecting the sculptures in original size, remuneration of the artists, keeping the sculptures and their surroundings clean, their regular care, copyright on the works. The following lines by the head of cultural department, Anna Vadász in the 25-year jubilee catalogue of the artists’ symposium refer to an even more effective hindering factor, enlightening the activity of the RÁBA Symposium and on its basis the

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