Kárpáti Zoltán - Liptay Éva - Varga Ágota szerk.: A Szépművészeti Múzeum közleményei 101. (Budapest, 2004)
ANNUAL REPORT 2004 - A 2004. ÉV - PUBLICATIONS - KIADVÁNYOK - ANNA JÁVOR: Andrea Czére, 17th Century Italian Drawings in the Budapest Museum of Fine Arts. A Complete Catalogue
NEW PUBLICATIONS ANDREA CZÉRE: / 7TH CENTURY ITALIAN DRAWINGS IN THE BUDAPEST MUSEUM OF FINE ARTS: A COMPLETE CATALOGUE, Museum of Fine Arts, Budapest 2004, 348 pp., English, 98 col. and 416 b&w. ills., ISBN 963 7441 96 4 The Museum of Fine Arts published Andrea Czére's complete catalogue in English in 2004. The first and only similar work until the present, that of Teréz Gerszi on the sixteenth century Netherlandishdrawings, was published in Amsterdam in 1971, and set an extremely high standard; in fact, it established a school. The ensuing great plunge, that of the seventeenth century Italian drawings, the result of which we can now hold in our hands, undertook no less than the scholarly cataloguing of the significant collection that reached Budapest from the greatest era of universal drawing, which is considered an etalon up to the present day. The greater part of the collection - and also of this part of it, as was announced in the exhibition arranged in 2002 in Rome, as well as that in 2004 within the museum's own walls - is from the Esterházy bequest: counted among the art collection the Hungarian state purchased from the family in 1870 were more than 3500 drawings, from which 206 are included in the current volume. Further sources are known, with a portion of the grouping purchased from Antonio Cesare Poggi traceable to the collection of the English painter, Sir Joshua Reynolds. The earlier, 1804 acquisition of Prince Miklós derives from the drawing collection of Paulus von Praun, the silk manufacturer and merchant from Nuremberg, which he had procured in the early 1600s in Bologna. The history of the collection in the book, illustrated with statistical account, represents an independent branch of our profession at present: the works from Budapest featured ten years ago at the exhibition dedicated to Praun 's Kunstkabinett in Nuremberg. Yet in the course of museum work, we most often hope that the laborious unfurling of origins will once lead to the artist himself. Drawings deriving from illustrious collections - and as such, it is worth mentioning István Dclhaes's early twentieth century Viennese collection - already arrive with some sort of attributional preconceptions. Their verification, certification and case-by-case "overwriting" with scientifically corroborative re-specification - alongside the no less laborious work of determining dating and subject matter - is the primary duty of today's catalogue-author, following provision of the exact data of the artwork, based on the
