Kiss Joakim Margit szerk.: Szentendrei művészet 1926–1935 között (Szentendrei Múzeumi Füzetek 2. Szentendre, 1997)

Benedek Katalin: A francia orientáció és nagybányai hagyományok a szentendrei festők munkásságában 1926–1935 között

RÉSUMÉ KATALIN BENEDEK Tibor Boromisza, in the company of Vilmos Csaba Perlrott, was the first to leave Nagybánya for the capital of France. He was enchanted by the colours of Paris as well as by Matisse' radiating lights. His series of Szentendre watercolours produced later suggest these effects. The characteristic „Szentendreism" of Ernő Jeges feeds on the naturalism of Nagybánya as well as on Cezanne's influence. Béla Onódi, landscapepainter, projects the memory of Barbizon into the landscapes of Szentendre. Paris did not have a deep influence on him. Jenő Paizs Goebel was influenced by a double effect in France: one was painterly, by Cézanne and Van Gogh, while the other was literary, by the symbolistic poets. The latter exerted a deeper impact on his painting art, and his „Szentendreism" was enriched with psychologising symbol systems. Gyula Czimra was not attracted by earlier reflections but by the current Paris and Gaugain's bold colour scheme. By the 1930s he had painted his pictures on Szentendre in a settled, geometric style. Antal Deli with his classical studies from the material of the Louvre lent variety to the structural Szentendre character. Géza Vörös, as a pupil of Réti, was responsive to plein air as well. After Paris, following Matisse and Gauguin, he gave preference to the unity of colour-plane-line, thus enriching the Szentendre tableau. Mária Modok is a sensitive female artist. In this respect she tried to realize a Nagybánya-Paris-Szentendre synthesis. Not forgetting Nagybánya she refreshed the Transdanubian couleour locale with the spirit of the École de Paris. István Ilosvai Varga's canvases suggest the polyhistor character of the painter. His second hometown ins Szentendre, he found here what he had lost in Nagybánya. He was enchanted temporarily by Cézanne, Utrillo and the rising cubism. The socially sensitive artist was inspired in Szentendre by everything that could be expressed in a painterly way. János Kmetty was acquainted with Paris early. He insisted on the reality of cubism as its aim was representation. He continued the Nagybánya-tradition in Szentendre in the spirit of KUT. Imre Szobotka belongs to the late Szentendre generation. He was also influenced mainly by Cézanne and cubism. Rudolf Dénes Diener was a lyric painter. The result of the long years spent in Paris was imbued with Szentendre. Vilmos Csaba Perlrott was a European painter with a wide intellectual horizon. Having belonged to the real Neos he was distracted from the discredited way by the fauves. His „Nagybányaism" accompanied him even in Szentendre till the end of his life. Margit Gráber was a representative of French taste. All her pastel pictures made in Szentendre in the 1930s were inspired by this taste. 33