Imre Györgyi szerk.: A modell, Női akt a 19. századi magyar művészetben (A Magyar Nemzeti Galéria kiadványai 2004/2)

Tanulmányok / Studies - Imre Györgyi: A modell / The Model

der bildenden Künste mit Schellings müncbner Rede 'lieber das Verhältniss der bildenden Künste zu der Natur'. Sendling und die Akademie der Bildenden Künste. München 2002, 11. Friedrich Wilhelm Joseph von Schelling (1775-1854) lived in Munich between 1806 and 1841 and was the secretary-general at the Academy of Fine Arts; between 1825 and 1841 he gave lessons on mythology. 16 Discussions about the idea of state as art cf. Wind, Edgar: Art and Anarchy, n. 11 17 Pevsner 1973, 87 and notes 1-2; 149, 177-178 ]H Boime 1971. 24 19 Lexikon der Kunst. Band I. Leipzig 1987. 82-84 20 Bellori, G. P.: Vite dei pittori, scultori ed architetti moderni. Pisa 1821. II. 203 ff. 21 Cf. Hess 1971, 5. On the free and tragic artist cf. Bätschmann, Oskar: Ausstellungskünstler. Kult und Karriere im modernen Kunstsystem. Köln 1997. 58ff.

, 97ff. According to Aristotle: 'Tragedy, then, is an imitation of an action that is serious, complete, and of a certain magnitude in the form of action [...]; not of narrative; through pity and fear effecting the proper purgation of these emotions. [...] For Tragedy is an imitation, not of men, but of an action and of life, and life consists in action, and its end is a mode of action, not a quality [...] Again, without action there cannot be a tragedy.' Cf.: Poetics. Translated by Butcher, S.H,, London 1932, 14-16. On the connections of the tragic scene, architecture and exhibitions cf. Imre 2002, 15, 265 22 An excerpt from Marsilio Ficino illustrates this: '[,..] the radiance and charm of this face (that of God's), be it present in an Angel, the Spirit or worldly matter, must be called universal beauty; and the desire directed at it, universal love. [...]The whole order of the visible world is perceived by the eye: not in a manner of being present in the matter of all bodies but rather in the light that suffuses the eye.' Vasoli quotes Ficino, op. cit. (n. 9) 55. On the afterlife of connecting the female nude to the monofocal perspective cf. W. Hofmann's present study. I owe János Megyik thanks for providing advice on the perspective as the reflection of the sight of the artist. Sluijter, Jan: Venus, Visus et Pictura. Sluijter, Jan: Seductress of Sight. Studies in Dutch Art of the Golden Age. Zwolle, 2000 (Studies in Netherlandish Art and Cultural History. Vol. II.) 120 ff. Thanks go to István Németh for his advice. 24 Survived on Jan Saenredam's engraving, published in 1616. See Sluijter op. cit. (n. 23) 88 15 Sluijter op. cit. (n. 23) 121. See also Németh, György: Love of Statues. Café Bábel 1996. 20 117-131. 16 Wind op. cit. (n. 16) 106-107 n. 53. On the abstraction of the naked truth cf. Delacroix's Diary, 12th October 1859 2

' See the present study. 28 Schelling, F. W. J.: Philosophie der bildenden Kunst. (Gesammelte Werke 5.) Hrsg. von Schelling, K. F. A., Stuttgart

—Augsburg 1859, 382. Quoted by Smitmans, Adolf: Die christliche Malerei im Ausgang des 19. Jahrhunderts

—Theorie und Kritik. Eine Untersuchung der deutschsprachigen Periodica für christliche Kunst 1870-1914. Dissertation. At. Augustin 1980 29 Merleau-Ponty, Maurice: L'oe/7 et l'esprit. Paris 1964 30 On the artist as a 'substitute mediator, "organ" of the creation of the world, who has clear vision' W. Hofmann quotes Schopenhauer in Grundlagen der modernen Kunst. Stuttgart 2003 4th amplified edition (Kröners Taschenausgabe Bd. 355), 228 31 Cf. Simonovits, Anna: Palágyi Menyhért filozófiai nézetei. (The Philosophical Views of Menhért Palágyi) A magyar filozófiai gondolkodás a századelőn. Ed.: Kiss, Endre - Nyíri, János Kristóf. Bp. 1977. 147. Menyhért Palágyi published an article in 1886 in the first issue of the review Egyetértés (Agreement) entitled Zoláról, és a naturalismusról (On Zola and Naturalism). 32 Bertalan Székely cf. Székely XIII. VK. 97 Hess discovered the strong anti-Guild direction that became the politics of the Renaissance Humanist Academy. Thérèse Burollet draws attention to considering 'academic' as a descriptive adjective for 19thcentury academism (Hess 1971, 5, 6, 7, 10). On the values of academic art see Gombrich, Ernst: Visual Metaphors of Value. In: Meditations on a Hobby Horse. London 1963, 12-29 34 Nochlin, Linda: Realism. Harmondsworth 1971, 25 35 See Béla Bacsó's present study. Cf. Boehm 2001 36 See Goldstein, Carl: Visual Facts over Verbal Fiction. A Study of the Carracci and the Criticism, Theory, and Practice of Art in Renaissance and Baroque Italy. Cambridge—New York 1988, 106 ff. 3

' 'He was courageous enough to restart everything. [...] Both in painting and in sculpture David is the father of the modern school. He even reformed the style of architecture and furniture intended for everyday use. David swapped the heterogeneous Pompadour style with the shapes of Herculaneum and Pompeii.' Cf. the Diary of Delacroix, in the notes for the Encyclopaedia 22nd February 1860, 268 and among the notes written for the Preface of the Small Encyclopaedia of Fine Arts, 1857, 250 3K Connolly takes an account of the precedents for La Petite Baigneuse (1818 Musée du Louvre); this is where the influence of the Persian miniature (Shiraz school, Nizami's poem on the story of Khosru and Shirin) can be detected. Cf. Connolly, John L. Jr.: Ingres and the Erotic Intellect. 23. Woman as a Sex Object 1972. 17-31 9 See Vigne, Robert: Dessins d'Ingres. Paris 1995. 734-739 40 Ingres, sa vie, ses travaux, sa doctrine d'après les notes manuscrites et les lettres du maître par le Vte Delanorde, Henri. Paris 1870. 117, 139 41 Ibid. 23 4

~ Hofmann, Werner: Le Songe d'Ossian et de la raison. Ossian 1974. 11-20. Hofmann quotes Ingres' note, where a propos the work of Macpherson he mentions the 'tendre amitié' between Ossian and Malvina. (12-13) The depiction (copying Gérard) focusing on imagination was blended with a conscious epigonism that presented itself as a realistic movement, related to David's studio. 43 Valentiny, János: Gypsies. (MNG inv.: 1942-3684). Mihály Zichy's composition entitled The Triumph of the Genius of Destruction (The Weapons of the Demon) can be considered as an extreme variation on the theme. (MNG inv.: 2337) On Zichy's picture the figure of the Genius of Destruction, the antithesis of the artistic creation, appears with his female counterpart, who, according to Zichy's phrasing equally represents 'the female as a coquette [...] and the woman of the Apocalypse,' who 'drives the blind man to terrible passion'. Földi, Eszter (Cf.: Antidericalism and a Negative Approach to History

—Mihály Zichy, the 'Painter of Ideas'. Zichy, Mihály. Catalogue. Zala, Zichy Mihály Memorial Museum. Bp. 2001. 211-217) considers the painting as an allegory of war. Perhaps it would be interesting to see its antithetical relation to P.-P. Prud'hon's painting La Justice et la Vengeance Divine Poursuivent le Crime. 44 Canzi, Ágost (Martin Kanz; Baden bei Wien 1808 - Pest 1866) studied under Ingres in the École des Beaux-Arts in Paris, graduating in portrait and historical painting. He settled in Budapest. (MNG Documentation Department inv.: M.M.A. 452/1920). 4 Canzi, Ágost: Faun and Bacchante (errant) cf. also n. 99. Canzi must have seen the frescoes on location, similarly to Barabás. See: Barabás op. cit., 91. Excavation of Herculaneum was begun in 1738 and that of Pompeii in 1740. The paintings were published in print albums from 1755 onwards by the Accademia Ercolanense of Naples. See Pevsner 1973, 143-144 46 See also n. 80 47 On the significance of the French academy see Szentkirályi, Zoltán Az akadémiák szerepe a francia barokkban. (The Role of Academies in the French Barroque) Építés - Építészettudomány 6. (1974. 1-2.) 121-138; Goldstein 1994, op. cit. 74-79. Life studies, based on the model of the French academy, were conducted everywhere at dawn and in the evening, cf. Pevsner 1973, 153. See Anna Jávor's present writing. 48 Cf. Pevsner 1973, 107. n. 1. His source: Procés-Verbeaux de l'Académie Royale de Peinture et de Sculpture. Vol. 10, Paris 1892 57. Cochin's drawing from 1763 shows the interior of an academy with a male model, cf. Encyclopédie 1772, Tome III. Dessein: Planche I. 49 Vigne op. cit. (n. 39) 50 Ingres, sa vie...op. cit (n. 40) 98 51 Through the kind information of Monika Knofler, head of the Viennese Akademie der bildender Künste Kupferstichkabinett. See also Knofler, Monika: Das Zeichnen nach dem Modell Kontinuum und Bedeutungswandel. Das Bild des Körpers in der Kunst des 17. bis 20 Jahrhunderts. Rupertinum, Salzburg. Ausstellungskatalog. Hrsg. Von Weiermair, Peter. Salzburg 2000 16 21 notes 42-44. See Anna Jávor's present study. See also Comisso, Giovanni: Velencei kémek. (Venetian Spies) Bp. 1982. 131, 153 51 Barabás 1985. 94 53 See the biography of his pupil George-Mayer 1882, 110. Friends recalling Rahl are the Nazarene Peter Cornelius, a pupil of David's and the poet and painter Wilhelm von Kaulbach. 14 Pevsner 1973, 230-232 Cf. Henszlmann 1990, 70. See also Széphelyi Franki, György: Felzárkózás vagy elzárkózás? Henszlmann Párhuzamának eszmetörténeti összefüggéseihez. In: Sub Minerváé Nationis Praesidio. Tanulmányok a nemzeti kultúra kérdésköréből Németh Lajos 60. születésnapjára. Bp. 1989. 92-101 56 Ibid. Yeldham specifies the subject of female artists 1984. 28-32; 42-61, quoted by Bicskei, Éva: Nők az Országos Magyar Mintarajztanoda és Rajztanárképezdében, 1871 és 1908 között. (Women in Art Education and at the Model Drawing School, between 1871 and 1908). In: Mintarajztanoda 2002. 239. n. 89 5

" On London and Berlin, see Pevsner 1973, 187, n. 2 58 Pevsner 1973, VI. See also The Complete letters of Vincent Van Gogh. [New York n.d.| 1 1, 494 59 Bellori (Life of Poussin) reports that 'he painted nude from life', cf. Arikha, Avigdor: De la boîte, des figurines et du mannequin. Poussin 1994. 44-47 60 Thomas W. Laqueur raised (Making Sex, New York) in 1990 the idea that it was only in the 18th century that the differences between men and women from the point of medicine were discovered. See also the present study of László Magyar and Ildikó Horányi. 61 Cf. Winckelmann, Johann Joachim: Thoughts on the imitation of the Greek Works. See also Potts, Alex: Flesh and the Ideal. Winckelmann and the origins of Art History. New Have-London 1994 62 Lyka 1951. 28 63 Hess 1971, 7, 11. Pevsner 1973, 1-4 64 Warnke, Martin: Hofkünstler - Zur Vorgeschichte des Modernen Künstlers. Köln 1985. Introduction. 65 Pevsner 1973, 140 ff. Szabolcsi op. cit. (n. 10) 66 Hofmann, Werner: Das Irdische Paradies. Motive und Ideen des 19 Jahrhunderts. (1960) München 1974. Cat. 30 67 Cf. Bitterli, Urs: Die 'Wilden'und die 'Zivilisierten'. Grundzüge eines Geistes- und Kulturgeschichte der europäisch-überseeischen Begegung. München 1976. Part II 2. According to János Foltényi: 'The simplicity of our forefathers and the narrow-mindedness of the time found pleasure in the rudest expressions [...] such as Adam's apple [..,] and the kind. This absurdi-