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

WOMEN AND FAMILIES Similarly to the Glasgow Quartet, there were mostly married couples in Gödöllő. Several artists moved here with their wives, others married weavers: Ferenc Sidló chose Carla Undi, Rezső Mihály married Lenke Boér, Jenő Remsey picked the most beautiful and attractive weaver in the colony, Vilma Frey. 1897) are portraits of the soul, revealing the influence of Karoly Lötz, whose school he had also attended. His series of portraits of the weavers are characterized by linear representation and Art Nouveau decorativeness. He painted Vilma Frey in a black dress with yellow polka dots and a green lining against a landscape background, in elongated standing format (1909). The lyrical quality of the picture shows a similarity to the early portraiture of the Nagybánya painters with their amalgam of decorative and plein air elements. Sándor Nagy: Sacred Expectation / tempera, gesso. 1904 Most of the Gödöllő artists represented the Woman as Madonna, as mother. Körösfői-Kriesch, who had copied paintings of the Virgin Mary during his Italian journey, painted his wife and son Iván as a Madonna and Child in a Transylvanian setting (1908). Among his early works Happiness (1898) is a painting imbued with mysticism but also incorporating some plein air effects. In his gobelin entitled Family (1906) the loving tenderness with which the female figure is shaped, the smooth, almost two dimentional rendering of her dress and the gentle lines of the folds remind one of Maurice Denis' representations of mother and child. Körösfői-Kriesch's early portraits of his wife in green or red dresses (Woman in a Green Dress-, Woman in a Red Dress, Aladár Körösfői-Kriesch's best female portraits are characterized by the use of gentle pastel tones on the face (Woman in a Red Dress, 1897); in his graphic works he often depicts the character of the model by giving her a blissful or rapturous expression (

Nóra Abt. 1908). The dual portraits of the Nagy couple express inner unity and an atmosphere of idealism and spirituality (Dual Portrait, pencil drawing, c. 1904). Sándor Nagy celebrated his engagement by painting a secular Annunciation [Ave Hyriam, 1904), and his Holy Expectation (1904) shows the couple awaiting the birth of their child. One of Aladár Körösfői-Kriesch's sculptures is entitled Sancta Hater, and almost all of Ödön Moiret's sculptures are transfigured female figures embodying ideals