Passuth Krisztina – Szücs György – Gosztonyi Ferenc szerk.: Hungarian Fauves from Paris to Nagybánya 1904–1914 (A Magyar Nemzeti Galéria kiadványai 2006/1)

FROM PARIS TO NAGYBÁNYA - PARIS - GERGELY BARKI: From the Julian Academy to Matisse's Free School

art collector, based in Paris first and later moving to New York.

59 On another occasion the artist recalled that it was here that he had met Leo Stein, Gertrude Stein's brother, who helped him enrol in Matisse's school.

60 Of course, these schools were not the only places where the Hungarian Wilds had a chance to learn about the most modern movements. The Salons and the exhibitions of private art dealers offered even better opportunities, along with the soirées of the Steins'. By the time the leader of the Fauves, Matisse, opened his school, he had already turned his back on the Fauve style, which meant that one of the most modern art academies of the period could not be regarded as an institute propagating the results of Fauvism. Nevertheless, the earlier mentioned schools could have impressed the Hungarian painters as eminently modern institutes

—especially in the light of the conditions that existed in Hungary at the time. More importantly, however, these academies functioned as important meeting places, where the Hungarian artists had a chance to get to know their peers of French, German, American

61 or any other nationality; in some instances, the Parisian schools specializing in nude painting brought together Hungarian artists, who previously had never met. Through these connections, the most progressive Hungarian artists were able to develop closer ties with the inspiring forces behind French painting, i.e. with the Salons, the Steins and even Matisse himself. And in a few instances even with Picasso,

62 who emerged during these years as the representative of a new style. Notes 1 Viktor Erdei's letter to Lajos Fülep, 18 August 14 October, 1906, in: Fülep 1990, 52, reprinted in: András-Bernáth 1997, 141-142. 2 Bölöni, György, "A magyar negyedből" [From the Hungarian Quarter], Magyarország, 29 July 1906, reprinted in: Bölöni 1967, 42-44. 3 See Zwickl, András, "Nagybánya és az aktfestészet" [Nude Figure Painting in Nagybánya], in: Nagybánya 1996, 246-268. 4The column entitled "Opinions about the Nude-School" was published in two issues, Modern Művészet, October 1905, 24-31. and November 1905, 93-94. 5 Boros, Judit, "Az aktfestés gyakorlata a Julian Akadémián / Nude Painting at the Académie Julian", in: A modell 2004, 328-331. We must add Károly Kernstok to Judit Boros's list of Hungarian students. See also Catherine Fehrer, The Julian Academy, Paris, 1868-1939, New York, Shepherd Gallery, Spring Exhibition, 1989, Cat., no page numbering. 6 From Ödön Márffy

's account we learn that he had to pay the same amount for the rent of his flat (25 Francs) as for the Julian, in: Horváth, Béla, "Márffy Ödön kortársairól és a korról" [Ödön Márffy about his Contemporaries and his Time], Jelenkor, 1961, 6, 716. 7 See e.g. Róbert Berény's recollections about J. P. Laurens: Kassák, Lajos, Vallomás tizenöt művészről [Confessions about Fifteen Artists], Budapest, 1942, 73-80. 8 About the interior of the school, see Arvid Fougstedt's drawing from 1909, Sketching in the Colarossi (Fig. 5), reproduced in: Pariser Begegnungen 1904-1914, no page numbering. 9 We would like to take this opportunity and thank Tibor Boromisza's family for making the photographs of the sculptures available to us. 10 Jacques Fernand Humbert (1842-1934) founded the academy in 1900; it once stood at the Boulevard de Rochechouart. We use this expression, because Czobel referred to the Académie Humbert as "Humbert Studio" (see next note). 111 would like to take this opportunity to thank Krisztina Passuth for calling my attention to Béla Czóbel's letter (PIM V.5253/164/2). Bajomi also used information from the letter in his book: Bajomi Lázár, Endre, Montparnasse, Corvina, Budapest, 1969, 199. About Humbert Studio see also: Barki 2004, 462-468, Note 11. 12 Braque in an interview for Cahiers d'Art in 1954, quoted by Dora Valuer, in: Oppler 1976, 49. " 3 Bornemisza, Géza, "Henri Matisse", Kékmadár, I., 2 April 1923, 1, 62. About the memoirs of Max Weber see: Barr 1951, 535. See also: Pariser Begegnungen 1904-1914. no page numbering. 14 Magyar művészek Párizsban a század elején [Hungarian Artists in Paris at the Beginning of the Century], Questions: Árpád Somogyi, Interview with Géza Bornemisza, painter, 1951, MTA MKI, Archives, Inv. No.: MDK-C-ll-23. 15 Perlrott 1929, 12-13. 16Claudio [also as Claudi] Castelucho Diana (1870-1927): some sources mention him as a sculptor, some as a painter, Whistler's pupil. Information about his teaching in: Die Große Inspiration. Deutsche Künstler in der Académie Matisse, III, Ahlen, Kunst-Museum, 2004. Cat. 33-34. 17 In the opinion of Judit Boros, Perlrott lived "in a rented flat owned by a certain Monsieur Castelucho" together with Robert Berény, Vilmos Huszár and Margit Pogány. See: B. J. [Boros, Judit], "Perlrott Csaba Vilmos: Női akt" [Female Nude], in: A modell 2004, 474-475. We need to amend and correct Judit Boros's list. Castelucho's name can be found at three addresses in the catalogue of the 1906 and 1907 exhibitions of the Salon d'Automne: 4bis, 14bis and 16 rue de la GrandeChaumière. Judit Boros did not mention Béla Czóbel, although the address next to his name in the 1906 catalogue is the same as the address next to Berény's (4bis); neither did she mention Ervin Körmendi Frim, although next to his name there is the address at 14bis. She mentioned Galimberti in relation to his address at rue Falguière, although when in the autumn of 1907 the address at 16 rue de la Grande-Chaumière was written next to the name of Perlrott, next to Galimberti's name there was the same. We can conclude from this that the addresses in the catalogues may have been only mailing addresses, just like in the case of Márffy in the autumn of 1906. As Márffy at this time no longer lived in Paris, he gave the name and address of his friend, Lavotta to be published in the catalogue of the 1906 Salon d'Automne. (I would like to thank Zoltán Rockenbauer for letting me know of this.) We know about other painters, who also did not live during the given period at rue de la Grande-Chaumière, e.g. Perlrott himself. It is the author herself, who refers to the address at rue Falguière written on a letter from the painter in October, 1907. Czobel also lived at rue Falguière during this time. 18 My assumption was confirmed by Jack Flam during a conversation, for which I would like to thank him. Béni Ferenczy mentioned three studios of the school, which may have been the same as the addresses at 4 bis, 14 bis and 16, rue de la Grande-Chaumière; see: Ferenczy, Béni, "Párizsi Emlékek", in: írás és kép [Memoirs from Paris, in: Writing and Picture], Budapest, Magvető, 1961, 24. About the addresses see also: Die Große Inspiration, op. cit. (Note 16), 38. 19 Denis, Maurice, "Liberté épuisante et sterile", La Grande Revue, 10 April 1908, reprinted in: Dagen 1994, 155. 20 „M. Castelucho a, croyons, une académie, et M. Matisse en a aussi une!" This part of Denis's article is also quoted by Adolphe Basler, Henri Matisse. (Junge Kunst 46), Leipzig, Verlag von Klinkhardt & Biermann, 1924. 21 We should differentiate between the two meanings of the word "academy" in the case of Matisse, also. On the one hand it means a school, an institution, on the other hand, it can be interpreted as a circle of artists, a group of followers, so to speak. See also: Jane Lee, "Denis and the 'Ecole de Matisse'", in: Maurice Denis 1870-1943, Lyon, Köln, Liverpool, Amsterdam, 19941995, Schoeck-Ducajn & Zoom, Spadem, 1994, 61-71. 22 In this case, again, he does not speak about "Académie Matisse", in other words, Matisse's school, but about the Fauves, Matisse's followers. 23 Denis, op. cit. (Note 19). 24 Altogether three plaster copies can be seen in the photographs of Matisse's school, but only one painting is known where there is a plaster copy. The "model" of Max Weber's "The Statue of Apollo at Matisse's Academy" (1908, Forum Gallery, New York, Fig. 9) can be seen in the background of a photograph showing the German pupils of Matisse; it was first published in the catalogue Pariser Begegnungen 1904-1914, no page numbering (Fig. 10). Besides the above-mentioned Classical plaster copy we can discover in the photos the casts of two Archaic sculptures. The more famous sculpture can be seen in the often reproduced photo showing the Matisse Academy's students in 1909 (Fig. 14), as well as in another one, in which Matisse is seen standing in the company of a model called Bevilaqua and some pupils in the same studio. (Fig. 11 ) The plaster copy of the other Archaic statue is in the background of a photograph of Per Krohg. (Fig. 12) Reproduced in: Billy Kiüver - Julie Martin: Kiki et Montparnasse 1900-1930. Paris, Flammarion, 1989, 43. Maurice Sterne also mentioned a plaster copy of a Greek head, see: Barr 1951, 118. Perhaps those of Matisse's instructions, which have been recorded by Sarah Stein, were made in relation to drawing the same head (wearing a helmet): "Matisse speaks to his students", 1908, Notes by Sarah Stein, in: Barr 1951, 550. 25 Max Weber, "On Matisse's School", in: Henri Matisse, ed.: Jack Flam, New York, 1988, 99. 26 MNG Archives, Inv. No.: 8240/1955. 27 Tihanyi was not Matisse's pupil, but he painted his first so-called "muscle man" painting in Paris. In a drawing by Géza Bornemisza from 1907 we can see the small statue, which earlier had been attributed to Michelangelo. Reproduced in: Művészet, 1907, 347. The so-called "Muscle Man" écorché sculpture was used by other Matisse pupils, like for example by Hans Purrmann, as well as by Matisse. In the photograph showing his studio we can discover the small plaster statue. Reproduced in: Pariser Begegnungen 1904-1914. György Szűcs is currently working on the analysis of this topic. 28 About the date of opening the school see: Barr 1951, 535. 29 Based on information provided by one of Matisse's Swedish pupils, Isaac Grünewald (in: Matisse och expressionismen. Stockholm, Wahlström & Wildstrand, 1944), Barr mentioned a total of 120 students who enrolled during the 3 years of the school's existence, in: Barr 1951, 117; Jack Flam talks about 80 pupils in: Matisse. The Man and his Art 1869-1918, London, Thames and Hudson, 1986, 221. 30 For a more detailed account, see: Marit Werenskiold, De Norske Matisse-Elevene: Laeretid og Gjennomrudd, 1908-1914. Oslo, 1972; Matisse-Elevene - De forste ar. Lillehammer Kunstmuseum, 2001. 31 Among the most recent literature about the topic are the three catalogues of the exhibition series at KunstMuseum, Ahlen: Die Große Inspiration, op. cit. (Note 16) 31 Besides the better-known literature (Barr, Flam, Oppler, etc.) see above all the lavishly illustrated exhibition catalogue: The Color of Modernism: The American Fauves, New York, Hollis Taggart Galleries, 1997. 33 Pierre Debreuil and Albert Guindet are mentioned in the chapter about Académie Matisse of Barr 1951, 117, presumably referring to Hans Purrmann, see: Pariser Begegnungen, 1904-1914. Jack Flam named a third French painter, Jean Biette, albeit with a question mark: Flam, op. cit. (Note 29), 492. The contemporary conservative press (mainly nationalist) attacked Matisse for having almost exclusively foreigners in his school. About this topic see: Kenneth E. Silver and Romy Golan, The Circle of Montparnasse Jewish Artists in Paris 1905-1945, New York, The Jewish Museum, Universe Books, 1985, 17-18; Stein 1990, 60. 34 E.g.: Pontus Hulten, "L'académie Matisse", in: ParisNew York 1908-1968, Pans, Centre National d'Art et de Culture Georges Pompidou, 1977, 214. 35 Stein 1990, 60.