Nagy Ildikó szerk.: Rippl-Rónai József gyűjteményes kiállítása (A Magyar Nemzeti Galéria kiadványai 1998/1)

TANULMÁNYOK / ESSAYS - BERNÁTH Mária: Egy közép-európai modell. Hatás és asszimiláció Rippl-Rónai József festői munkásságában

française, Revue Blanche, 1er Avril, 1899. Some French reviews translated into Hungarian: Pewny 1940. 53 Rippl-Rónai 1957. 61-62. 54 Verbal communication of Aristide Maillot to Pewny Denise. Pewny 1940. 60. 55 Fülep 1910. 227. 56 The passage of the letter cited in Pewny 1940. 56. 57 Letter of József Rippl-Rónai to Ödön Rónai. 5 July 1900. HNG Data Coll. inv.no. 204008/1

970/8/d. 58 Ödön was the most understanding patron of his brother's art. For his role in the artist's life, see József Pandur's study in this catalogue. 59 In more detail, see: Bernáth 1977. When I was writing that paper, the letter to Ödön (inv.no.

4869) which proves that RipplRónai did stay at St.Petersburg for three days, was not yet accessible in the HNG Data Collection. 60 Rippl-Rónai 1957. 122. 61 Lyka 1949. 33. 62 The calculation was made by Pewny Denise, in: Pewny 1940. 77. 63 Rippl-Rónai József: Egy jótékony célú műkiállítás alkalmából [On the occasion of an exhibition of art for charity]. Somogy, 7 June 1903. 3. 64 Letter of József Rippl-Rónai to Ödön Rónai. Kaposvár, 14 Sept. 1904. HNG Data Coll. inv. no. 20408/1979/12/b. 65 Rippl-Rónai 1957. 86. 66 Ady Endre: Kisvárosok öszi vasárnapjai [Autumn Sundays of Small Towns]. This poem was written by the poet Ady at Kaposvár, when he was a guest of Rippl. 67 Hofmann, Werner: A földi paradicsom {Paradise on Earth]. Budapest, 1987. 245, 180-181. 68 Letter of József Rippl-Rónai to Ödön Rónai. Kaposvár, 11 March 1905. HMG Data Coll. inv.no. 20408/1979/13/a. 69 Rippl-Rónai 1957. 86. 70 Ursula Perucchi-Petri opines that the often strong light-and-shade contrast in Vuillard's works carries symbolic connotations, e.g. allusion to Life and Death. Dans un intérieur (description of picture) in: Frèhes-Thory-Perucchi-Petri (eds.) 1993. 334. Koella, Rudolf: Futteral des Menschen. Zur Interieurmalerei der Nabis (ibid. 95-96) writes about the open doors in the Mabis' works which, he says, suggest that someone has just left the room - that is, they allude to something invisible. This approach leads nowhere in the case of Rippl-Rónai. 71 See note 70. 72 Csengeryné 1963. 143 is right in stating that the connecting link between RipplRónai's home pictures and Vuillard's interiors is their mood and the important role played by the home in the lives of both. 73 Denis, Maurice (Théories. Paris, 1964. 170) uses this notion as the criterion of synthesization. ("C'est simplifier dans de sens de rendre intelligible.") 74 Petrovics 1943. XXI. 75 Schneidig, Walter: Die Geschichte der Weimarer Mahlerschule. Weimar, 1971. 89. 75 Several of the Habis made use of these consequences. It is a fact that Vuillard and Roussel in 1892, Vallotton in 1893 went to see Dutch genre pictures, above all Vermeers. In the opinion of Ursula PerucchiPetri, a peculiar feature of the Vermeer and Chardin interiors - the graceful darkening of the picture space - had a great influence on Vuillard. Die Nabis und der Japanismus. In: Frèches-Thory-Perucchi-Petri (eds.) 1993. 59, note 57. " For the characteristic and Central European specificities of the earlier Hungarian conversation pieces, the "Situationsbild" see in more detail: Zádor, Anna: Az életkép [Genre picture]. In: Művészet Magyarországon 1830-1870 [Art in Hungary 1830-1870}. Catalogue I. (Ed. Szabó, Júlia and Széphelyi, F. György). Budapest, 1981. 94-97. 78 In connection with Cezanne, Werner Hofmann cites Francastel. Op.cit. 190. 79 Hans H. Hofstätter grossly misunderstands Rippl-Rónai when he characterizes him, together with Lajos Márk, as the successors to boudoir and salon painting (Aman-Jean, Steinlen) with a French tone. (Geschichte der europäischen Jugendstilmalerei. Köln, 1963. 232.) 80 Biatostocki, Jan: Régi és új a művészettörténetben [Old and new in the history of art]

. Budapest, 1982. 254. 81 Gachot 1944. 10. 82 Rippl-Rónai's ambition to renew his style must have also been egged on by the founding in 1907 of the MIENK group. Next to Szinyei and Károly Ferenczy he was a leading organizer of the exhibition opened on 11 January 1908 at the National Salon. Following the model of the Salon des Independents of Paris, the curators aimed to give a forum to "modern artists" in general, and not just to a narrow group of distinct commitments. 83 At the bottom: "Remembering the warm summer days in 1906: To my brother Ödön, Jóska." This incription also proves that the picture was painted in the latter half of the year. (Czóbel returned in summer.) 84 Rippl-Rónai 1957. 63. 85 "Comment voyez-vous ces arbes? Ils sont jaunes. Eh bien, mettez du jaune; cette ombre est plutôt bleue, peignez-la avec de l'outremer pur; ces feuilles rouges, mettez du vermillon." Cited: Estienne, Charles: Gauguin. Genève, 1953. 40. 86 "Now Czóbel will get a hiding... That's the first step here, for what is daring and new, or at least equivalent with the plan of the Salon d'Automne." Letter of Rippl-Rónai to Ödön Rónai. 10 Jan. 1908. HNG Data Coll. inv.no. 20408/1979/16/a. 87 See for more detail: Horváth Béla: Márffy Ödön kortársairól és a korról [Ödön Márffy about his contemporaries and age]. Jelenkor, 1961. 715-719. 88 Réti István: A nagybányai művésztelep [The artists colony at Nagybánya]. Budapest, 1954. 70. 89 How deep an imprint the dotting technique left on the art of the period was reviewed by a recent exhibition with the title "Farben des Lichts" staged at the Westfälisches Landesmuseum in Münster, where Rippl-Rónai's picture entitled I'm painting Lazarine and Anella in the park, Hepi and the rest are hot was also put on display (1 Dec. 1996- 16 Febr. 1997). 90 Munch wrote the following sentence in German on his 1895 lithograph: "Geschrei. Ich fühlte das große Geschrei durch die Natur." 91 "L'expression, pour moi ne reside pas dans la passion qui s'affirmera par un mouvement violent. Elle est dans toute la disposition de mon tableu." Cited: Escholier, Raymond: Henri Matisse. (Anciens et modernes) Paris, 1937. 98. 92 Rippl-Rónai 1957. 78. •

J Cited: Hofmann, Werner: A modem művészet alapjai [The foundations of modern art] Budapest, 1974. 208. 94 "Peinture physique..." Cited: Leymarie, Jean: Braque. Genève, 1961. 21. 95 Werner Hofmann offers a palpable analysis of the possible use of the contour. In: op.cit. 207-208. 96 Leymarie, Jean: Le Fauvisme. Genève, 1959. 118. 97 Matisse declared in 1908, when he was over his Fauvist period: "(Jne nouvelle combinaison de couleurs succédera à la première et donnera la totalité de ma représentation." Catéchisme fauviste de Matisse. In: Jalard, Michel-Claude: Metamorphoses de l'Impressionisme. Paris, 1966. 108. 98 Fülep Lajos: Rippl-Rónai kiállítása [Rippl-Rónai's exhibition] (1917). In: A művészet forradalmától a nagy forradalomig [From the revolution of art to the great revolution]. Budapest, 1974. 231. 99 Rippl-Rónai 1957. 63. 100 In his Memoirs published in 1911 (Rippl-Rónai 1957. 123-124) he reported that he had viewed the accessible private collections and shows staged by art dealers all over, including a Matisse exhibition at Bernheim's. 101 For the modern tendencies converging in Nagybánya from 1906-07 and then radiating from there in various direction, and for the stylistic diversity of Hungarian painting in the 1906-10 years, and for the French and German orientation of the next generation, see in more detail: Szabó Júlia: Nagybánya és az európai művészeti irányzatok [Nagybánya and the European artistic trends]. In: Nagybánya. Nagybányai festészet a neósok fellépésétől 1944-ig [The painting of Nagybánya from the debut of the Neoists to 1944]. (Ed. Jurecskó, László and Kishonthy, Zsolt) Miskolc, 1992. 21-33. 102 Rippl-Rónai's influence is demonstrated by Pewny 1940. 95, in the works of Tibor Boromisza painted in 1908, and by Jurecskó, László: Boromisza Tibor. Miskolc, 1995. 34-35. 103 Kállai 1925. 37. 104 Letter of József Rippl-Rónai to Lajos Ernst. 5 Oct. 1923. HNG Data Coll. inv.no. 20046/1923. 105 Zsigmond Justh is cited by Péter Pór: Konzervatív reformtörekvések a századforduló irodalmában [Conservative reform drives in the literature around the turn of the century]. Irodalomtörténeti Füzetek. Budapest, 1971. 25. 106 Rippl-Rónai 1957. 126. 107 Genthon 1958. 36. This paper was preceded by the following publications related to the theme: Bernáth 1989, 1991, 1994.