Csornay Boldizsár - Dobos Zsuzsa - Varga Ágota - Zakariás János szerk.: A Szépművészeti Múzeum közleményei 97. (Budapest, 2002)

The Year 2002

Cock represented the first half of 16th century, while the chiaroscuro pieces of outstanding quality by Hendrick Goltzius the end of the same century. The public was also invited to get acquainted with a wide range of woodcuts by 19th-century German artists like Adolph von Menzel, Alfred Rethel, Julius Schnorr von Carolsfeld, Emil Olrik, Carl Moll and Maximilian Kurzweil, and by contemporary English artists, such as Walter Crane, William Nicholson and Sidney Lee. The artistic woodcut was revived by French artists in the 1850s. Jean-François Millet, member of the Barbizon school, made his first woodcuts around 1860; his brother, Pierre Millet, also prepared cuts after Jean-François's drawings. The late 19th century was represented by the works of Emile Bernard, Lucien Pissarro, Paul Gauguin, Félix Vallotton and Maurice Vlaminck from the circle of the Fauves. Three numbers of the yearbook entitled as Genius (1919-1921) were exhibited, wich published original woodcuts by Erich Heckel, Karl Schmidt-Rottluff and Franz Marc, members of Die Brücke (1905-1913), one of the artistic groups of the German expressionist movement. The album Klänge by the Munich expressionist artist, Wassily Kandinsky is a series of illustrations to the German poems of the artist. The works of the expressionist János Mattis-Teutsch and Franz Marc show a spiritual relationship: the intermingling patterns of their wood- and linoleum cuts form a mystic unity. Among the Bauhaus artists preparing woodcuts, those by Lyonel Feininger have the most distinctive characteristics. László Moholy-Nagy made his first abstract compositions in 1921 under the inspiration of El Lissitsky. In his linoleum cut, from the beginning of the 1920s, he created a dynamic space on the plain surface. The aims of the Russian artists of the avantgárdé were, in many respects, similar to those of the Weimar artists. Varvara Stepanova, in her applied graphics, converted the principles of the Russian constructivism into artistic expression. Hans Arp composed first around 1915-16 "automatic" drawings, which imitated the forms of nature. Picasso's graphic compositions developed along parallel ways with the stylistic progress of his paintings. The exhibition showed some of his still lifes, paraphrases of classic masters and leaves elaborating Spanish topics. Besides the compositions illustrating the history of woodcut, we also exhibited tools used for the preparation of woodblocks and presented the technique by means of diverse blocks worked and unworked. sz. B. Translated by T. K. LEONARDO CHAMBER EXHIBITION JULY 31 - OCTOBER 30, 2002. MARBLE HALL CURATOR OF THE EXHIBITION: JÁNOS EISLER The 550th anniversary of Leonardo's birth occasioned a display of the four autograph works in the collections of our Museum, together with some reliefs and glazed ceramics that can be indirectly connected to the works of the master (fig. 73). The most important offspring of the display was the demonstration of an association