Czére Andrea szerk.: A Szépművészeti Múzeum közleményei 105. (Budapest, 2006)
ANNUAL REPORT - A 2006. ÉV - JUDIT GESKÓ: Van Gogh in Budapest
INTERIOR VIEW OF THE EXHIBITION end of the nineteenth century, and a conscientious artist who elaborated upon traditions, shaping them and incorporating the most important contemporary trends of French art into his personal world of art. The collections of institutions affiliated with the Museum of Fine Arts, such as the collection of modern Hungarian art in the Hungarian National Gallery (a unit that became independent in 1956) and other public and private collections in Budapest made it possible to introduce both the sources of Van Gogh's art as well as the way his works were received in Hungary. This latter aspect was the novelty with which the Budapest exhibition contributed to the previous international Van Gogh exhibitions. The objects exhibited in the painter's imaginary museum were closely connected to the work of a previous generation of art collectors and museologists. This also holds true for those four Van Gogh works which are the property of the Museum of Fine Arts and whose acquisition and conservation were the result of the work of the legendary collector —and art historian duo, Pál Majovszky and Simon Meller. The exhibition consisted of five major sections. The monographic part introducing Van Gogh's œuvre betw r een the years 1881 and 1890 contained 45 paintings, 22 drawings and 10 prints. Major emphasis w r as placed on selecting works from the first phase of Van Gogh's artistic period, the Dutch phase, in order to underline his beginnings as a landscape and still-life painter, and as a portraitist. It served to highlight the tension between Van Gogh's growing knowledge of the craft and the sudden emergence of his mature w r orks. Paintings, drawings
