Nagy Ildikó szerk.: Nagybánya művészete, Kiállítás a nagybányai művésztelep alapításának 100. évfordulója alkalmából (A Magyar Nemzeti Galéria kiadványai 1996/1)

Negoita Laptoiu: Tasso Marchini, a modern művészet egy erdélyi előfutára

Ausstellung teil. Die damalige Presse schrieb über seine Werke mit großer Anerkennung. Im Dezember desselben Jahres nahm er an der ebenfalls in Kolozsvár stattgefundenen gesamtsiebenbürgischen Ausstellung teil. Im Frühjahr des nachfolgenden Jahres zeigte er seine Werke im Offiziellen Salon in Bukarest. Im Februar 1932 trat er in Kolozsvár wieder zusammen mit Letitia Munteanu und Radu Pu§cariu vor die Öffentlichkeit. Im Februar 1933 nahm er an der daselbst veranstalteten Ausstellung der jungen siebenbürgischen Künstler teil. Im nachfolgenden Jahr zeigte er seine Werke in Temesvár und erntete mit seiner Ausstellung einen großen Erfolg. Marchinis Gesundheitszustand verschlechterte sich trotz der wiederholten Behandlung im Krankenhaus. Er strab im Herbst 1936 im Lungensanatorium von Arco di Trento (Norditalien) im Alter von 29 Jahren. Tasso Marchini ging von der Cézannischen Betrachtungsweise aus, diese anfänglich konstruktive Annäherung wurde jedoch durch einen individuell gedeuteten Postimpressionismus abgelöst. {Selbstbildnis mit Palette, 1933). Gleichzeitig fühlte er sich mit der rumänischen Avantgarde der Kunst von Marcel Iancu und M. H. Maxy durch starke Fäden verbunden. In seiner Tätigkeit kam die Einheit der modernen Empfindsamkeit und der Achtung des Klassischen zustande, wie es auch in der Kunst seines Vorbildes Modigliani der Fall war. Tasso Marchini, a Transylvanian Forerunner of Modern Art NEGOITÄ LÁPTOIU Although he died at a tragically young age, the Romanian painter of Italian descent, Tasso Marchini occupies an important place in the formation of modern Transylvanian painting, or in a broader context, in Romanian fine art. Born in 1907 in Belgrade, Tasso was separated from his parents in 1917 and moved to Nagyvárad to live with his aunt there; then, in the following year, he was taken to Kolozsvár where he lived with his foster parents. It was here that he started painting in the 1920s; then, in 1925, he enrolled in the newly founded College of Fine Arts of Kolozsvár, where he was taught by Catul Bogdan. The works he presented at the College exhibitions were received favourably by contemporary critics, with one of his portraits accepted, and awarded with a prize, by the Official Salon of Bucharest. All through his college years Marchini spent the summers in Nagybánya, making contact with such recognized artists as Noémi Ferenczy, Dávid Jándi, József Klein, Hugó Mund, Eugen Pascu, Vilmos Perlrott Csaba, Sándor Szolnay, János Thorma and Sándor Ziffer. The art of Szolnay, and probably of Perlrott, had the greatest influence on his style of painting. After graduating from the College, in view of his poor health, he moved to a small northern town, Hollóssy's birthplace, Máramarossziget. Between 1930 and 1934 it was mostly here that he worked, producing several of his major works, primarily landscapes, portraits and still lifes; nevertheless, he stayed loyal to Nagybánya. He also discussed questions of art theory, publishing four articles introducing the modern art movements in the newspaper Astra Maramure§ului (Máramaros Star) in 1933. In 1934 he was elected president of the Society of Young Transylvanian Artists. From 1930 he regularly exhibited his works. In April and May of that year he had a joint exhibition with the painter Letiçia Munteanu and the sculptors Radu Puscariu and Jenő Szervátiusz, receiving favourable reviews from contemporary critics. In December his works were shown to the Kolozsvár audience once again, this time at the exhibition of Transylvanian artists. Then, already in the next year, came the exhibition of the Official Salon in Bucharest. In February 1932 he had another joint exhibition in Kolozsvár with Letiua Munteanu and Radu Puscariu. His works were included in the exhibition of young Transylvanian artist, which was held in Kolozsvár in February 1933. The following year his paintings were shown to the Temesvár audience, again with great success. Despite receiving treatment in hospital, his health condition gradually deteriorated. He died in the Autumn of 1936, at the age of 29, in the tuberculosis institute of Arco di Trento in northern Italy. Tasso Marchini started out from Cezanne's artistic view, but the early Constructivist approach was replaced by his individually interpreted Post-Impressionism (SelfPortrait with Palette, 1933). At the same time, he was strongly attached to the Romanian Avant-garde, the art of Marcel Iancu and M. H. Maxy. In his work he combined modern sensibility and respect for classicism, in a way that resembled the art of his model painter, Modigliani.