Klemmné Németh Zsuzsa (szerk.): Triznya Mátyás 1922 - 1991 (Szentendre-Zebegény, 2012)

so that this uncertainty should not occur in your following things. The most important part is to determine the horizon of the whole picture And he goes on unfolding the topic clearly, which often develops into an exciting philosophical and theoretical chain of thoughts. This is what Mátyás Triznya told about his relationship to his father-in-law in an interview: “Long-long decades had to pass until you could feel certain enough to take a brush, especially in the shadow of such a great painter like István Szőnyi. He was much rather a friend for us than a father or a father-in-law ... He first came to us in 1957 and last not long before his death, in 1960. However, we take him as if he lived even now, as if he was with us ... We keep talking 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

1 István Szőnyi’s letter to Mátyás Triznya in pen and ink, illustrated with drawings, Letter 70, I7,b December 1949, Levelek otthonról Szőnyi István és Bartóky Melinda levelei Szőnyi Zsuzsához és Triznya Mátyáshoz (1949-1960), PMMI-Szentendre 2009. p.168

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

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