Kopócsy Anna (szerk.): Alkotó vagy múzsa. Anna Margit, Modok Mária, Szántó Piroska, Vajda Júlia, Vaszkó Erzsébet. 2013. november 21 - 2014. január 12. MűvészetMalom - Ferenczy Múzeum kiadványai, C. sorozat: Katalógusok 6. (Szentendre, 2013)
epigonism. Paradoxically, the tragedy of their youth had brought for them the possibility of development. While taking care of the bequest of their husbands, light was shed on their art - it happened earlier with Margit Anna, in the case of Júlia Vajda from the sixties with the decrease of family duties. New research and monographs proved the independent character of these artists. The case of Piroska Szántó is different, as she and her husband were active in different fields of art, helping each other’s career, and literary illustration turning to the major field of her art. They are connected not only by gender, social connections, but by the town of Szentendre as well. This is the point, why two other female painters - Mária Modok (1896-1971) and Erzsébet Vaszkó (1902-1986) - are also present at the exhibition, their relationship is proven by Endre Bálint, closely connected to the circle of Szentendre artists: „It seems as not only men, but art is also suffering by the miss of women. Let us mention those belonging to the Szentendre School, like Margit Anna, Júlia Vajda, Mária Modok, Piroska Szántó and Erzsébet Vaszkó.” (Diary of Lies) Mária Modok - from 1940 wife of Béla Czóbel - belonged to the older generation, still she set an example to the younger contemporaries with her works presenting maternity and poverty. Erzsébet Vaszkó is an absolutely independent personality, compared to the other astists she has no portraits, self-portraits, she remains incognito all the time. Her landscapes, nonfigurative works still stongly express her personality,so her paintings might be considered as hidden self-portraits. Artists of this exhibition cannot be considered as feminists, they did not form an independent group to seek success this way.They worked together with their male colleagues,trying to find their own characters, showing - not always knowingly-their personal female identity.This is manifest in the role-playing self-portraits of Margit Anna, but Júlia Vajda had also her dreams in the constructive infinity of her paintings. The works of the five artists show analogies, interactions in a most attractive way. ÉLETRAJZOK ANNA MARGIT (Borota, 1913 - Budapest, 1991) 1932-1936 között Vaszary János magániskoláját látogatta. Férjével, Ámos Imrével 1937 után nyaranta Szentendrén festettek. Később az 1970-es évektől jár újra vissza. Férje tragikus haláláig tartó korszaka, igazán egyéninek tekinthető, mely főként szerepjátszó önportréiban mutatkozik meg. Önfeltárulkozás, a női szerepek bátor megjelenítése, ugyanakkor a hitvestárs iránti eLkötelezettség jelenik meg korai alkotásainak többségén. 1945 után az Európai Iskola tagja volt. A holokauszt tragédiája, a személyes érintettség egy életre meghatározza művészetét. Ettől kezdve figurái elvesztik ember arcukat, bábukká válnak, groteszk világot hoznak létre művein. A kiállítás főként a 30-as, 40-es évek anyagaiból válogat, elsősorban az önarcképekre koncentrál. Életrajzok 21
