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

Ablak szegfűkkel 1984 of them understand what they are looking for in this ageless city, which never tries to hide its decay. Pondering about the Colosseum, Miklós Hubay words what we can feel when we obsetve Mátyás Triznya's aquarelles: "The Colosseum: in its form is an extinct crater, a squirt on the Moon. I looked from its bottom, up to its rim - my nothingness became as obvious as that of an astronaut left on an alien planet. I tried to imagine one hundred thousands of onlookers around. Can so many people make the whirl of stones more human, from the depth of which - like from a deep well - one can see the stars! No, they cannot. The crowded Colosseum might remain an even more lifeless crater of the moon. The more people flock inside the more distant, inconceivable and unlikely human presence becomes."^ Perhaps this is why Mátyás Triznya did not paint people among the buildings in the shadow of trees. This idea also appears in the poem written to Mátyás Triznya by Ferenc Szabó, which is at the head of their joint volume: "Though no man you see, alive I is the spirit of I wells, gardens and stones I at the bottom of broken columns I evanescence meditates I light flows like golden blessing / in the open palm of pine trees"

6 /rough translation/ The magic reflected light - which attracts people of other civilizations from all over the world becomes a sensitive material in the painter's pictures. This makes the churches, torsos, dome remnants, columns of forums and the city seem alive, the city, which we would know about less without his aquarelles. He was pleased to present his friends with his paintings and was surprised and happy to see that there were people who even paid for the pictures he had made for his own pleasure. He neither collected and nor kept his works as treasure. As a consequence, his life work got scattered all over the world. From the middle of the 1950s, he had exhibitions. He was invited to have one-man shows to several European countries besides Italy. In 1973, he was appointed to be a member of Accademia Tiberina of Rome. Collectors were eager to purchase his works. His first exhibition in Hungary was arranged in the Italian Institute in 1984 though they could not be present at the opening because his wife, Zsuzsa had not got the visa to Hungary and without her, Mátyás was not willing to come. The friends and inquirers were waiting in vain. It was at that time that his cousin, István Triznya, and the director of the Szőnyi Museum of Zebegény, Pál Klemm, first talked about how to arrange a suitable introduction in Hungary - and this idea coincided with Mátyás' wish. By 1987, his greatest dream had been fulfilled because in his beloved father-in-law's house formed into a memorial museum, in Zebegény, a nice exhibition was arranged from his aquarelles, and by the 5 Miklós Hubay: A közöny gyújtópontjában, Napló nélkülem, Szépirodalmi Kiadó, Budapest, 1978. p.100 6 Mielőtt szürkülnek a színek, Ferenc Szabó's poems, Mátyás Triznya's aquarelles, Rome, 1987, p.5 S