Klemmné Németh Zsuzsa szerk.: Triznya Mátyás (1922–1991) (PMMI kiadványai – Kiállítási katalógusok 13. Pest Megyei Múzeumok Igazgatósága, 2005)

about him at home as well as during our journeys: he must be somewhere up, high above us, and he lets his legs swing from the clouds..."

2 Later, when Matyi got a permanent job as a special effects cinematographer at the Italian film laboratory of SPES, painting could remain as a pure source of enjoyment for him. For the journeys or the trips around Rome, he always took his painting equipment and aquarelle paper with him. Thus were his fresh landscapes created on lakes, meadows with flowers but his greatest endeavour was to conquer Rome through painting. As his knowledge of history and philosophy got deeper and deeper, the ruins, remnants, town walls, churches, domes, statues, triumphal arches and wells told him more and more. Rome like a beautiful Lépcsők Ostia Anticaban 1979 woman always showing a new face revealed its secrets step by step and offered inexhaustible inspiration for the sensitive-eyed painter, who turned to her with devotion. He was searching for the spirit of the views, the "Numen" of things - as László Cs. Szabó wrote: "in his pictures of Rome, gods guarding the hearth have not emigrated from under the roofs. Gods and goddesses still live in the sensitive trees of Palatínus."

5 Rome never appeared for him as a commonplace or an outworn advertisement for tourists. He gradually approached the real essence of the eternal city. He was interested in the paradox of evanescence and timelessness. How can Rome be the symbol of vanitas and, at the same time, a triumphal town capable to renew of its own ruins, a New Age metropolis, where you can live, moreover, you can live well because it has preserved its human scale during the centuries just as Athens has. If you walk in the streets it is worth either looking up towards the tall columns, triumphal arches and dignified domes or looking down at the stones that emerge from anywhere like beings from the ground weaving the myth of past in secret. There are but few who are willing to untwist the network and Triznya was one who did it, "... in the Eternal City he matured to be an artist who developed aquarelle to a philosophical and meditative genre."

4 For him painting was a device for meditation though he wrote studies on history as well but his aquarelles can tell us more about his ideas about the flourish, decay and renewal of our civilization. Mátyás Triznya recognised and made it obvious for us that the remains of an old empire can become consubstantial with nature again just as slender cypresses receive the lonely decaying columns of one-time churches among them as if they were their relatives. The main heroes of his pictures are vedutes and trees, ruins and wells, shadows living their own life on the walls of houses, "the blue sky" of Rome - under which István Szőnyi was not able to paint for some time - air carrying colours and light radiating from objects. Only people are missing among the walls. Although swanns of tourists from all over the world are attracted by some invisible power to flock to the Colosseum, Piazza Navona, the Capitolium and all the other well-known places of Rome day by day, very few 2 Itália kék ege alatt, Áron Tóbiás' conversation with Mátyás Triznya (details), in: Római Akvarellek Triznya Mátyás (1922-1991), Kortárs Kiadó Budapest, 2002. p.7 3 László Cs. Szabó, Római Akvarellek Triznya Mátyás (1922-1991), Kortárs Kiadó, Budapest, 2002 p.17 4 László Szörényi: Előszó, Római Akvarellek Triznya Mátyás (1922-1991), Kortárs Kiadó, Budapest, 2002. p.5