Czére Andrea szerk.: A Szépművészeti Múzeum közleményei 105. (Budapest, 2006)

ANNUAL REPORT - A 2006. ÉV - MARTON OROSZ: Sea Battles: The Painter's View in the Art of Veronese, Turner and Kandinsky

vaguely to a possible sea battle. The autonomous, abstract forms were composed by the analogy of music and they evoked reminiscences of landscape only in an extremely subtle and indefinite manner. The three masterpieces were accompanied by eleven paintings selected from the Museum's own holdings and from two private art collections. They were displayed on the outer walls of the exhibition installation, lending a framework in the true sense of word to the three works of art in the middle. (The interior design was the work of NARMER Architectural Studio.) Of these eleven paintings only two reflected upon the actual theme of the exhibition (the works of Bonaventura Peeters and Konstantinos Bolanachi) the others were either sea views, showing the ships struggling with the waves as a background to a sublime composition depicting the sailing boats as a Romantic artistic accessory (for example in the landscape of Michael Wutky's Rocky Seashore in Moonlight), or they depicted the sea with boats as a means of escape from some disastrous event (as in the picture by Lieve Verschuier showing the Great Fire of London). Visitors to the exhibition were able to walk in the midst of a light installation designed by Gábor Batkai, which created the effect of the sea's waves. In addition, the Museum of Transport lent their scale model of the HMS Victory, Nelson's flagship in the Battle of Trafalgar. VASILY KANDINSKY. IMPROVISATION 31—SEA BATTLE. WASHINGTON. NATIONAL GALLERY Márton Orosz