Öriné Nagy Cecília (szerk.): A gödöllői szőnyeg 100 éve - Tanulmányok a 20. századi magyar textilművészet történetéhez (Gödöllő, 2009)
Summaries
124 Lilla Erdei T. Workshops of Lace at the Beginning of the 20 t h Century In the second half of the 19 l h century, the demand on the renewal of artistic lace was evident in many European countries. The official training of needlework and lace-making started in Hungary in the 1870's, but the first attempt of creating a typically Hungarian lace is associated with the name of Béla Angyal who led his training workshop in Körmöczbánya. This workshop later was adopted by the Royal School of Applied Arts and worked as the training workshop thereof from the beginning of the new century, together with many other newly founded ones equally led by B. Angyal. Thereupon followed the sewn lace of Halas, with its workshop duly entering the above Applied Art School and bringing about the technical innovations and the special pattern treasury of its own. Two more important lace types should be mentioned, one of them was a crocheted one prepared in the school of Csetnek founded at private initiative, and the other one was the bone lace known as Hunnia. A few more lace types (called Sutter , Pannónia and the one of Balatonendréd) will develop until World War I. This dynamic development was interrupted by the war, but was resumed thereafter. Ihe work went on gaining new momentum so that certain lace types, in skilled hands, met with spectacular success, producing pieces highly appreciated up to the present day. Zsuzsa Farkas The picture as reflected in the carpet - The carpets of the Hungarian National Gallery In the introduction, the author examines the interpretability of the carpets by seeking to answer the question whether the scene represented in the carpet is similar to or identical with the graphic or photographic reproduction. A carpet style applying new formal and content elements develops in the spirit of Art Nouveau at the beginning of the 20 , h century. A list of the pictorial carpets of Gödöllő is attached to the study as annex no 1 providing the place of their first presentation and the reproductions belonging to them. Ihe Hungarian National Gallery possesses four pictorial carpets of Gödöllő, one of them is the Sitting Woman with Roses on show in the 20 , h century permanent exhibition. Beside the Tree Planters of Aladár Körösfői-Kriesch and the Composition of Rezső Mihály, the work Gingerbread Maker of János Vaszary is to be found in the fine art collection. Two woven executions of the design of János Vaszary are known, one of them was made by Sarolta Kovalszky. The other execution is one of the first works of art prepared in the Weavers' Workshop of Gödöllő and is in the possession of the Town Museum of Gödöllő. Ehe study describes in details the circumstances and the history of preparation of the works of art. Réka Semsey Contribution to the role played by Sándor Nagy (and Henrik Fieber) in religious art on the occasion of the jubilee of the carpet weaving workshop in Gödöllő The foregoing essay treats the problem of the textiles prepared for liturgical purposes by the artists of Gödöllő and by students of the School of Applied Arts. The pertaining sources are rather meagre. In contrast to vestiges belonging to secular fine and applied art genres, no mention is made of textile works having religious subject in the correspondence Elek Korongi Lippich had with Sándor Nagy and Henrik Fieber, a correspondence having a very personal tone at times. We find ample information on this topic in the short communications of the contemporary fine art periodicals as well as in Henrik Fiebers studies treating modern religious art. In most cases, we come across some occasionally mentioned art relics hiding in the sources, but we hardly ever find an object preserved to our days, which is mentioned by a contemporary source
