Déry Attila: Budapest eklektikus épületszobrászata (Művészettörténet - műemlékvédelem 1 Országos Műemlékvédelmi Hivatal, 1991)

Angol nyelvű összefoglaló

his failures, after his artistical succeses and experiments in Italy. At home the quality of his message was behind his sculptural training. As he was a typical «second fiddle player" he got used to executing others' ideas. As an architectural sculptor he worked into Leo Feszler's hand together with Ede Mayer. DONATH, GYULA (Pécs, 13. 3. 1850 - Budapest, 27. 9. 1909) He was the most enigmatic artist-character of his age. His character was build on contradictions, said Károly Lyka the historian of art about him. Adding to it so were the opinions about him. Lyka wrote about his „warm mood" but showed him as a drunkard „ whose saving-bank books were always in order". The sculptor contemporarty, József Róna described him as a cynical, malicious man whose gestures were addicted to deviancy. Ödön Gero the art critic of his age mentioned him as a „sunshiny, happy imagination" man getting mixed the picture of reality with fantasy in his mind. Tamás Szana showed him as a self-conscious but ignored artist. His way of life was confusing in the sight of his contemporaries. His obituaries haves also pointed to the eccenticity of his character. He was more concerned with the artistic expression of deam man other sculptors of his age were. He was a qualified, mdependent-minded sculptor. He exceeded his qualification based on neo-baroque and neo-renaissance and paid respect to the results of French sculpture of his age. The reasoned compositions mixed with unsolved parts in his works- reflecting his unbalanced personality - fine baroque effects interchanged with grandiose solutions from time to time showing the influence of Meunier. His necropolis sculpture went back to the artistical means of classicism, - but his compositions and solutions of some parts approached the more spectacular forms of baroque. In his architectural sculpture projects, he didn't turn away from the average means of his sculptural practice. FESZLER, (FESSLER) LEO (Vienna 22. 11. 1840 - Újpest, 14. 11. 1893) Feszler came from a sculptor-family of Vienna. He was a reserved, unpopular figure of the Hungarian sculpture of the 19th century. The „silence" around him deprived the succeeding generations of the possibility of hawing documentation on his works.The quality of his works raise him to the important Hungarian masters of his age. The sure-handed sculptor inspired by neo-renaissance made figurai scupltural ornaments which were not only wordhy to artistic making of monumental public houses but they could stand on their own. HENTSCH, IGNÁC (? - after 1880) and his workshop Ignác Hentsch was a sculptor and stone-cutter entrepreneur with a workshop equipped on manufacture-level. The products of his workshop didn't rise above the average quality of his age. He kept to the vigorously antique spirit of fine arts which survived the romanticism as a postclassicist heritage. His contemporaries mentioned him as a 'Grecian specialist'. We can still see his stiff „type"-limestone statues today. It is not yet decided wether each work belongs to Hentsch or to his employees. The following two artists also worked in his workshop;