Gulyás Katalin et al. (szerk.): Tisicum - A Jász-Nagykun-Szolnok Megyei Múzeumok Évkönyve 22. (Szolnok, 2013)
Művészettörténet - Irodalomtörténet
ZSOLNAY LÁSZLÓ: KÉSŐ GÓTIKUS FIRENZEI OLTÁRKÉP KUNHEGYESRŐL munkája lesz a kor specialistáinak, mint amit eddig elvégeztünk. A Damjanich Múzeum sajnos nem lehet az a hely, mely végső lakhelye lesz a képnek. A Nemes család azt szeretné, ha szűkebb pátriájuk, Kunhegyes lenne gazdája a jeles alkotásnak. Az egri érsekség Egerben történő elhelyezést szorgalmaz. A szolnoki múzeumban megtörtént a nemzeti kulturális örökségbe történő felvétele a festménynek, majd a kölcsönbérleti szerződés figyelembevételével, a múzeum visszaadta a kunhegyesi plébánia képviselőjének, Mészáros Ferenc atyának, aki azonnal Egerbe szállíttatta. László Zsolnay A late Gothic Florance altar painting from Kunhegyes It is more than twenty-five years ago now, that upon a request from László Szabó I joined the studies of the region of the Tisza lake as a young colleague of the János Damjanich Museum. My task was to elaborate the Roman Catholic churches of the area. It was a job after my heart, since traveling across the region I could get first-hand information from the part of the country I have been dealing with for more than quarter of a century now. While traveling, we discovered the chapel of Pusztatomaj, in ruins it was even then, which was built in neo-gothic style in 1892. After that we visited the Kunhegyes parish church, where we found a painting. As the parson, father Emil Bollók told us, it had been taken from the Pusztatomaj chapel after it was seriously damaged. The neo-gothic style painting, at the first sight, fitted the chapel very well, so I identified it as a neo-gothic piece in my notes. In 2010,1 was traveling across the country with my colleagues Annabella Geese, and Nándor Szebenyi collecting objects for our exhibition called The Art of Churches, which opened in the Szolnok Gallery in November 2010. It was then that we transported the neo-gothic painting from Kunhegyes borrowing it from the congregation. We intended it as a representation of neo-gothic art in the exhibition. That was the first time that we touched it, and that was when the first surprise hit us. Turning the picture around we could realize that the wooden board of the paintings was a lot more than 100 years old, in addition there was an Italian heritage stamp on it. An exciting investigation was launched that led us to state with fair level of certainty that it was painted in Florance during the Italian trecento in the 1300’s and its probable painter was Giovanni del Biondo or an artist from his surroundings, and it was bought by Count János Nemes in Italy at the beginning of the 20th century. 591
