Czére Andrea szerk.: A Szépművészeti Múzeum közleményei 105. (Budapest, 2006)
ANNUAL REPORT - A 2006. ÉV - ERNŐ MAROSI: Sigismundus Rex et Imperator: Art and Culture During the Time of Sigismund of Luxemburg, 1387-1437
(and the accompanying article of Mária Verő), since the display of these artworks has hitherto been the most complete show of these types of objects. The next section "Sigismund as a European Political Leader" was also rich in new discoveries. It called attention to the conscious political propaganda Sigismund and his closed circle used since at least the Council of Constance. The Richental Codices and Windecke's biography bear testimony to this propaganda, that had an impact on the formation of Sigismund' fame and left a lasting influence on evaluating later Sigismunde politics concerning imperial reforms as he represented it at the Council of Constance and Basel. The Reformatio Sigismundi, published also as an incunabulum, amounts to a political program. Generally speaking, these political treatises and popular readings on eschatological or mystical subjects and alchemy written on paper with pen-and-ink illustrations make a sharp contrast to the luxuriously illuminated codices on vellum and tell the story of the spreading impact of the printing revolution and the changing rule of books themselves. The sixth unit was named "Succession and Memory". An equally difficult endeavour, which occasionally had to turn to secondary, graphical material and to drawings from the Museum's own collection, especially in the case of the cult of Sigismund in Nuremberg and that of the imperial insignia. The section nevertheless presented some exciting objects, such as the portrait of Albrecht as Constantine on the panel painting from Rajhrad (Finding the Holy Cross) or the portraits of Ladislaus V. The closing unit of the exhibition was "Art under Sigismund in the Hungarian Kingdom: the International Gothic". This was almost a second, separate exhibition, in a different space, giving a different visual effect. It is dubious whether the umbrella term of international gothic could aptly cover everything what the display presented from Elungarian art between the end of the fourteenth and the mid-fifteenth centuries. It is certain, that there has not been any show r before that presented the art historical traditions of Hungary with such a richness of styles. A short list here can mention only the most significant artworks: the Calvary Altar of Tamás Kolozsvári from 1427 (Garamszentbenedek / Hrosky Benadik) stood in the centre of this section, being also a visual link to the previous part of the exhibition. It was put on display together with those art/works that could serve as stylistic analogies, especially the ones that documented that Kolozsvári could be connected to the circle of the DietrichsteinMartyrologium of Gerona, which was the most remarkable artistic environment in Prague before the Hussite movement. This part of the Budapest show could not be complete because of the parallel exhibition in Prague. Nevertheless a very carefully organized display showed the various influences from Prague in painting and codex illumination as well, introducing
