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
Sigismund, as a result of which a complete picture emerged about the art in Sigismunde court instead of the earlier speculations. That an artistic centre existed in Buda for smithworks (for which we lack local evidence) can be proved by the examples of those artworks (as the binding cover of the Szelepchényi evangelistarium from Nyitra / Nitra, or the reliquary cross from Nagydisznód / Heltau / Cisnädie) which bear the characteristics that were spread all over the country. In this centre several techniques were cultivated, including the making of filigree enamels, engraving and metal casting. The last part of the exhibition seemed to refer to the themes introduced at the beginning of the show. This display has been hitherto the most complete presentation of Hungarian art of the period —and probably one that could not be easily repeated in the future. For the specialists, for those who prepared the great previous exhibition that summarized their findings in 1987 this occasion now was like a reward, the great occasion to complete their interpretations, attributions and hypothesis, or to correct their mistakes, often made on the basis of photographs only. But why in the Museum of Fine Arts? This question can be asked only by someone who knows nothing of the traditions of the Museum and who is able to see separately "universal" and "Hungarian" art. The greatest merit and the most successful result of the exhibition was the abolition of this division. If the idea of European community played any role in the organization, it was fulfilled by this unity of qualities. All this could not have been possible without the widest network of loans, some of which, especially from the neighbouring countries, was a real breakthrough. Slovakia and Romania gave generously, just as Croatia also contributed with a rich material and in representing the artistic influences of the Buda court Bosnia is to be thanked for giving the artworks of Bobovac. Austria was more reserved, the Czech Republicwas rather niggardly. As a result the Hussite art and the Prague traditions during the reign of Sigismund were missing from this exhibition. What novelty could be said in this respect, was said by the Prague show. Yet everybody could find his or her own favourite set of artworks. From these sets new themes emerged, different from the thematic groups offered by the display and the catalogue. The writer of this review was especially captured by the multiple functions and typologies of images as well as the richness and versatility of the drawings, which were represented with the best pieces of the genre. If paired together, the two exhibitions of Prague and Budapest showed the wholeness of graphic art at the second half of the fourteenth and the first part of the fifteenth centuries. What else can be the morale: "What therefore God hath joined together, let not man put asunder." Ernő Marosi
