H. Bathó Edit – Gecse Annabella – Horváth László – Kaposvári Gyöngyi szerk.: Tisicum - A Jász-Nagykun-Szolnok Megyei Múzeumok Évkönyve 16. (2007)

25 Years of the Artists' Colony of Mezőtúr

MÁRIA EGRI 25 YEARS OF THE ARTISTS' COLONY OF MEZŐTÚR The summer artists' colony of Mezőtúr came into existence after a long period of planning, dreaming and preliminary works. First, it was held bi-annually, then, after 1986, annually at the bend of the Holt-Kőrös. A few metres from the riverbank, there is the Takács farm-house built on a small elevation consisting of 2 rooms, a kitchen and a storehouse; there was a porch in front of the intimate building lit by oil lamps, and there was a draw-well at the foot of the elevation. Its water was not drinkable; drinking water had to be carried to the scene in water containers. For washing, the "ancient colonists" used basins, showers fabricated from oil barrels, but mainly the water of the Kőrös. On the riverbank, they could seize plums, apples, pears, and fresh milk was available at a nearby farmhouse. They cooked lunch on the gas stove in the tiny kitchen, but they frequently used a stew-pot outside on an open fire. Those who were susceptible to natural way of life could easily make themselves at home soon. Painting, drawing and modelling took place in the open air at freely chosen locations, braze casting was carried out in an area created on the other side of the elevation also in the open air. The comparatively untouched flood areas, the wildlife that could be approached by boat or car, the arable and wild lands around the colony, and the uninhabited farms enthralled the artists. Several similar temporary artists' colonies operated in Hungary from the 1960s onwards, most of them were maintained by the Artistic Funds and the Association of Fine and Applied Arts with the support of the local county and town councils. The Mezőtrú colony was different from others as the funding of the colony and its operation was the result of a considerable social collaboration. As a result, there were some tight relations between the artists and the preservers, who put forward the interests of the local community and those of the artists through the decisions of the Colony Council at the same time ensuring the autonomy of the colony. The material demands played very little role among the demands of the artists, more important were the human relations, being aware of the fact that they played a role in the life of the town, and that their activities were important to those for whom they made their pieces. This direct and positive spiritual and emotional relation between the creators and the public, between the patrons and the artists proved to be of elemental force in Mezőtúr. As a result of these annual beings together, in Mezőtúr some connoisseurs developed, a system of patrons whose members literally were formed and lived together with the colony. The works going on there, the completed pictures and statues increased their affinity towards fine arts and improved their artistic taste. A community was formed whose members were capable of financing fine arts due to their demands and material possibilities. According to the original ideas, painters, graphic artists and wood-sculptures were meant to work at the colony, but Sándor Györfi tried to introduce wax bronze casting for the first time. His ideas met the interests of the patrons of the colony; from 1983 onwards he was asked to act as leader of the colony. Next to the fine details, one of the advantages of this ancient technique is its simplicity. Casting takes place in trenches in the ground, and firing in open ovens erected in the open air. In the first few years, sculptures were created among the most primitive circumstances. However, it was this period, when the atmosphere of the colony was created, upon which they could build in later years, a new community was forged, and whose obsession and poesy still keep it going. After the fourth or fifth tour, an agreement was made that the continuity of the colony could be maintained only by a constant community of artists, only they could fulfil the goals set forward by the founders: the town council and the artists. And since bronze casting was set as one of the main objectives, they mainly based upon sculptures. The core of this community was formed by Sándor Györfi, and Géza Balogh, who had previously worked together at the Sóstó Artists' Colony of Nyíregyháza. Later, in 1985, they were joined by Tibor Borbás. After the death of Borbás, his place was filled in by sculpture Aranka Lakatos, who had been present at the colony since 1990. Their professional leadership created a tradition upon which they could rely after they had re-organised themselves as a Foundation in 1991. They became the determinant personalities of the colony. Next to bronze casting, the other important part of the works of the colony was painting. The painters who took part in the life of the colony for a longer period include László Meggyes, Magdolna Fazekas and Ágnes Szabó. In the 1980s, Mezőtúr offered a studio for married couple painters Ildikó Váncsa, and Sándor Lajos Kiss. After they left in the mid 90s, they tried again, and Mezőtúr gained the presence of two outstanding painters: János Demeter Lóránt, and Louis Stuijfzand of the Netherlands. And if we have to confine the number of mentioned artists to those who worked here for a long period of time, we definitely have to name Edith Székhelyi as well. Apart from the constant membership of the artistic council, and the repeated invitation of individual artists, the continuity of approach from the side of the local government has always proved to be significant. After the 411