Takács Imre – Buzási Enikő – Jávor Anna – Mikó Árpád szerk.: A Magyar Nemzeti Galéria Évkönyve, Művészettörténeti tanulmányok Mojzer Miklós hatvanadik születésnapjára (MNG Budapest, 1991)
BERNÁTH Mária: A „nemzeties művészet" programja Rippl-Rónai József interieur-képeiben
5 Rippl-Rónai József Emlékezései. Budapest 1957, 86. 6 Ady Endre: Kisvárosok őszi vasárnapjai. Ady e versét egyébként - Rippl vendégeként - éppen Kaposvárott írta. 7 Hofmann, W: A földi paradicsom. Budapest 1987, 245. 8 Hofmann, W: i. m. 180-181. 9 Természetesen e „hirtelen" változásnak azért megvolt a maga rövid előzménye: az 1899-ben Maillol vendégeként Banyuls-sur-Mer-ben eltöltött néhány hónap alatt Rippl felkészült erre. E banyuls-i képekről, köztük a Maillolportréról bővebben lásd: Bernath M.\ Ripl-Rónai József, Budapest 1976, 120-127. 10 Maurice Denis (Théories. Paris 1964,170.) a szintetizálás ismérveként használja ezt a fogalmat. („... c'est simplifier dans le sens de rendre intelligible.") 11 Petrovics E.: Rippl-Rónai. Budapest é. n., XXI. 12 Scheidig, W: Die Geschichte der Weimarer Malerschule. Weimar 1971, 89. 13 A korábbi magyar életképek, a „Situationsbild" jellegzetességeiről, közép-európai sajátosságairól lásd bővebben: ZádorA.: Az életkép. In: Művészet Magyarországon 18301870. Katalógus I. (Szerk. Szabó J. és Széphelyi F. Gy.) Budapest 1981, 94-97. 14 Hans H. Hofstätter mélyen félreérti Rippl-Rónait, amikor őt, Márk Lajossal együtt, a francia-szellemű boudoir- és szalonművészet (Aman-Jean, Steinlen) folytatójaként aposztrofálja. (Geschichte der europäischen Jungedstilmalerei. Köln 1963, 232.) 15 Bialostoclá, /.: Régi és új a művészettörténetben. Budapest 1982, 254. 16 Cézanne-nal kapcsolatban Werner Hofmann Francastelt idézi. I. m. 190. THE PROGRAMME OF NATIONAL ART IN JÓZSEF RJPPL-RÓNATS INTERIORS One of the most outstanding figures of modern Hungarian painting, József Rippl-Rónai (1861-1927) settled in Paris in 1887 after some brief studies in Munich and lived there till 1900. This segment of his life-work is labelled the „black" period. He exhibited his works together with the Nabis. His style, similarly to the Nabis artists', was close to synthetism with a bent to Art Nouveau, traceable to Gauguin. But his colours, unlike those of his friends known as the Nabis, were far more subdued: black, grey and brown tones were predominant Rippl-Rónai's Paris period was synchronous with the most modern stylistic trends in Western Europe. Unable to make his living in Paris, he moved back to Hungary. The paper examines the characteristics of the few years after his return (1902-06), which constitute a special period within the oeuvre. First of all, the author surveys the new stylistic traits compared to the Paris period. In these years, the master almost exclusively painted interiors. The changes in style can be summarized as follows: 1/ the stationary, elongated picture format disappears; 2/ representation bordering on planarity gives way to a relish in spatiality; 3/ the contours derived from the cloisonnism of Bernard and Gauguin disappears. His forms become more compact, sometimes a bit heavy. 4/ He abandons reduced colouring, his palette becomes brighter. In the author's view, these regressive steps taking RipplRónai's style away from the Western European trends were aimed at a more favourable reception in Hungary, since he knew that his restrained Paris style would be a hindrance in being accepted in Hungary. Though allowing that this change in style was a step toward certain provincialism, the author regards Rippl-Rónai's concession as epoch-making in Hungarian art. When Rippl-Rónai returned to Hungary, the exhibiting rooms were still wholly predominated by the syrupy or melodramatic genre pictures of artists schooled in the Munich or Vienna academies. By painting interiors, RipplRónai chose a theme that was very familiar to museum goers, since genre scenes were usually painted in interior settings. But there is a world of difference. Rippl-Rónai painted pictures, not stories. No sentimental touch, no cheap gestures. He smuggled as it were, his post-impressionistic style refined in Paris, to Hungary with his interiors, stealthily enriching the nation's wealth. What the author sees as the historic significance of Rippl-Rónai's period of interiors is the transplantation of a post-impressionistic synthesis into the Hungarian soil. Rippl-Rónai built a bridge between modern Europe and Hungarian genre painting, giving thereby an enormous impulse to the community to which he had returned.
