Katalin Gellér: The art colony of Gödöllő 1901-1920 (Gödöllő, 2001)

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H« í« • J-JS TATTLE I fcc c J A í vl I ' L, « //A/ p-yi « / J *—-—• tó ; : E=3 •fAW - I * \ Fvm™ ^ « N V A \ » TFIUÁ* \ Sándor Nagy in his Veszprém apartment, around 1906 Ede Thoroczkai Wigand's interior design for the book Ornamental Courtyard/Budapest. 1916, Táltos their bare feet, socialists wearing red ties... tame vegetarians and theosophists who harken to Jenő Schmitt at the Akadémia café in the evenings... You can easily guess what books they hide in their pockets: Nietzsche or Stirner, or Marx, or Baudelaire. From among our own poets, Jenő Komjáthy or János Vajda." EXODUS: VENUES OF A NEW LIFE: THE HOUSE, THE GARDEN, THE WORKSHOP THE HOUSE Gödöllő was one in a series of colonies of artists who left the cities towards the end of the century in search of unpolluted sources and banded together to promote craft work. Besides personal motivation, their exodus also implied social protest: it expressed a nostalgia after rural Hungary, a utopistic longing for an earlier way of life devoid of the social and moral problems of spreading capitalism. in most art colonies, landscape painting had priority. Though Endre Freeskay and Ervin Raáb were first of all landscapists and Árpád Juhász and the leading masters also drew and painted several landscapes, the central aim of the Gödöllő artists was not the development of new painterly ways to render landscapes but to create a close and vigorous symbiosis with nature, a new way of life. A. Körösfői-Kriesch: Chest with Mirror and Chest, c. 1910 Aladár Körösfői-Kriesch: Wardrobe with Liiiies