Őriné Nagy Cecília (szerk.): A népművészet a 19-20. század fordulójának művészetében és a gödöllői művésztelepen (Gödöllői Múzeumi Füzetek 8. Gödöllői Városi Múzeum, 2006)

Folk Art as Reflected in the Art at the Turn of the 19,h and 20th Centuries and in the Art Colony of Gödöllő. Abstracts in English / Angol nyelvű összefoglalók

Abstracts in English 227 (1877-1959), this second period extends to a longer stretch of time; there were several occasions when the museum bought of her paintings and drawings. Not only did Mariska Undi work as a draftswoman in the museum (1904-5), but also, she has been participating annually in folk art collection trips for thirty years after she became a respected artist. Altogether 248 of her drawings and paintings can be found in the Collection of Drawings. Her aquarelles showing costumes were prepared as late as in the nineteen twenties — thirties and even later, in the beginning of the forties and they are chiefly related to her ethnographic articles. Ethnographers have very sharply, sometimes rudely and cruelly criticized her because of this activity. The matter at issue here is that a given subject has been approached in fact from two different aspects: by the intensifying ethnographic research work on one hand and by the works created during the pedagogical activity of Mária Undi, on the other. The debate related to the artist's scholarly work took place in the scholarly periodical Ethnographia (1942, pp. 240-242; 1943, pp. 201-204). Despite this, purchasing of her works has not been interrupted, so the museum bought 66 creations from the heiress, Mrs. Imréné Undi. They are mainly representations of women's dresses from Kalotaszeg, Torockó, Mezőkövesd and Tard. In 1986, when the museum came into the possession of a legacy, her 5 embroidery patterns (watercolour) originating from the region of Szék were stored in. In 1991, the Museum of Agriculture donated dress patterns, embroidery drawings and smaller prints. When scrutinizing the collections, it is possible to get some taste both of the early period of Mariska Undi and also of her second period, by studying the drawings she made in connection with her treatises and pedagogical works. To sum up the presence of the artists in the different collections: it can be said of Árpád Juhász that a nearly complete picture of his life work becomes distinct on the basis of his creations and the objects, pieces of wear he collected. Obviously, the "all-art" principle, the credo of the artists of Gödöllő does not entirely unfold itself from the material of the museum. But it is just by studying the stored stock of pictures and manuscripts that our idea of the personality of Mariska Undi and of Árpád Juhász will be finer and subtler.