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

1980) settled here for good and founded a dynasty of painters. His brother Zoltán Remsey (1893-1925) worked here from 1913. Many other artists had contacts with the colony. The French consul's son Charles de Fontanay, a graphic artist, studied here. The Remseys invited György Dettár (Détárí) to Gödöllő. Our research has uncovered names of hitherto unknown artists, such as László Inotay, head of the István Medgyaszay: Leó Belmonte's atelier house. 1904-1906 School of Applied Arts at Temesvár, who also joined the colony. Members of the Colony established a network of friendship and artistic collaboration throughout Europe, partly through personal contact during their many trips abroad, partly because their ideas and interests drew in other artists and thinkers with similar ideas and aspirations. Such considerations caused Leó Belmonte, Sándor Nagy's fellow student at the Julian Academy, to settle in Gödöllő. The physician Eduard Frank of Mainz, whose family Belmonte depicted several times, supported them in building the atelier houses at nos 34 and 36 of former Erdő street (now Körösfői Kriesch Aladár Street) Sándor Nagy and Körösfői-Kriesch met Ernest Percyval Tudor-Hart, a distant relation of the English royal family (Montreal, 1873 - Cataraqui, 1954) at the Julian Academy. His last large tapestry design (Adam and Eve in Paradise, 1926-1961) was woven by Leó Belmonte back in Paris from 1926 to 1956. As the material of an exhibition catalogue from 1909 reveals, Gödöllő artists were in touch with French, German, Belgian theosophist painters and planned a collective exhibition in Budapest. They were also on friendly terms with the Finnish artist Akseli Gallen-Kallela, whom they met when he visited Hungary. Sándor Nagy corresponded with the gnostic philosopher Jenő Henrik Schmitt who lived in Berlin. Later they met in Budapest, in the Holczer Café where the followers of Schmitt gathered. They remained in contact after 1900 with the owner of the mansion in Diód, Jenő Boér who published a book entitled The Religion of Than, and with Tom (Thomas Richard) von Dreger (Brno, 1868-Vienna, 1948), an Austrian portraitist, who had settled with his large family at Diód under the colony's influence and who in his memoirs attributed his moral revival to having met Aladár Körösfői-Kriesch and his friends. Many prominent people attended the intimate musical evenings, literary recitals and fancy-dress parties in Gödöllő. At meetings held twice a week excerpts were read from works by Gorky, Maeterlinck, Anatoie France. The colony was in touch with contemporary writers, poets and composers. They invited the Puppet Theatre of loránt Orbók and staged performances themselves. Körösfői-Kriesch played the violin, Rudolf Balogh: Aladár Körösfői-Kriesch'

s atelier in Gödöllő his sister the piano. There was a presentation of dance in 1912: Valéria Dienes, the disseminator of Raymond Duncan's method in Hungary, introduced her art. Mariska Undi was in close contact with Valéria Dienes, whose portrait she also painted. These soirees were also visited by the sculptor Irma Duczynska (Ducinska) (Lemberg, 1869 - Munich, 1932) who once attended a festive occasion clad in a Greek-style toga. From among the young artists, Jenő György Remsey, weaver Vilma Frey and Mariska Undi had also studied at the Free School in Nagybánya. Rezső Mihály and István Zichy used to visit the Thalia Society and designed stage sets. Jenő György Remsey published an illustrated book together with Lajos Gulácsy and Arnold Gara. From among art critics, Károly Lyka and Artúr Elek were close friends, and the art critic of The Studio, Amelia Sarah Levetus regularly described their latest works in her column. They also knew the painter and art historian Dezső Rózsaffy who also settled in Gödöllő. The weaving school attracted many artists. Some of the tapestry and carpet designs of János Vaszary and Artúr Lakatos were executed in Gödöllő. A workshop was set up for sculp-