Horváth János: Rippl-Rónai József iparművészeti munkássága, az Andrássy-ebédlő (Kaposvár, 2013)
János Horváth: József Rippl-Rónai and the Applied Arts - the Andrássy Dining Room
— ..........—.........(K^ '($****' T he Welsh dresser is divided into three units, both horizontally and vertically. The huge, square-shaped structure is standing on graceful, pointed legs. The lower unit consists of drawers, the middle of cabinets, and the upper of shelves. The cabinets in the middle are protruding, while the two narrower, lateral, vertical units are in an open position, covered by curtains. These two have a rather small capacity, their tops are divided into three units by wavy-edged shelves; the top of the lateral boards also ends with waves. The doors of the cupboard are decorated by two, symmetrical, roseroot - shaped, oxidised, brass embellishments. Their surface is highlighted and intensified by the dark chambers of the units in an open (vertical and horizontal) position, such as lateral and middle shelves. The Welsh dresser is crowned by a narrow, balustrade-like gable, decorated with a pumpkin-leaf-shaped brass stamping. The keyholes of the drawers are ornate with brass leaves. The sideboard, adorned with a blooming tree - shaped stamping, is vertically divided into three units, but it is not equipped with any shelves. Upon manufacturing the table, a hostile press campaign broke out between the "artist" and the "artisan". Rippl-Rónai borrowed these terms from Bing, "artisan" stood for "craftsman". The artist designated the table, representing a great garden tree, a central position. Surprisingly, he wanted to equip it with only one leg. Symbolising the trunk, the leg would have ended in roots, stemming from the oval foundation. Its upper end, formulating the treetop, would have had the function of supporting the three metre wide tabletop. This leg needed to be carved. Although Endre Thék, the "artisan", argued that the leg would not be able to support such a weight, Rippl-Rónai insisted on this organic design. Eventually, he accepted Thék's constructive criticism and the roots and treetops were simplified as arched, wavy pillars. Outlines of a tree can be spotted from frontal and lateral view. The dispute resulted in the production of an elegant, unique table. Rippl-Rónai's chair designs, on the other hand, were rejected, probably due to their simple, Biedermeier style. Count Andrássy preferred to choose Windsor chairs with arms, turned legs, and leather seats; factory products that did not harmonise with the rest of the interior. The photographs of the porcelain dinner service must have perished as well. The Rippl-Rónai Museum has preserved, along with some sketches, approximately ten plates, created as samples. Rippl-Rónai was drawing the outlines of a mass-produced plate laid on a sheet of paper, then designing its decoration, using colourful, pastel shapes. He created five flowery designs for decoration, and also some designs depicting landscape. Glass figures served to adorn the upper, open shelf of the cupboard. Friedrich Zitzmann, Wiesbaden-based glassblower created the flower-like figures from molten glass tubes. Having open ends, they were unable to function as vases; being lightweight, they were merely able to accommodate a single flower. Zitzmann was also the one who manufactured the glass ceiling ornate with clouds. It is reticulated with wavy, wrought iron structural lines. The glass panels are secured by a leaden framework, also ornate with clouds, but their lines are thinner. Only one monochrome photograph of the ceiling has survived. In 1898, Rippl-Rónai held an exhibition at the Gurlitt Salon in Berlin. According to Rippl-Rónai's letter to Ödön (Budapest, 7th of December, 1898), "Andrássy's interior design became an instant success - the Minister was speaking in flattering terms - he understood what I wanted to say, as if it were a solution for social issues. It seems that I have achieved my goal."
