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

Angol nyelvű összefoglaló

HOLZEL, (HOLTZL) MÓR (Prague, 18. 1. 1841 - Bártfa (Bardejov, Bartfeld, Czechoslovakia), 24. 7. 1903) Mór Holzel came from Prague, and in Oie 1870-s he made himself independent He opened a definitely gothidstic taste wood-carver school im Bártfa. DINNERT, FERENC (Pest, 1820 - Óbuda, 1894) Ferenc Dinnert is a follower of late classicism - his few independent works show this. KÁSZONYI, LÁSZLÓ (? - ?) He had an average qualification and he was a master of eclectic taste. In his sculptural practice he was guided by neo-baroque mentality. LANGER, IGNÁC (1857 - Budapest, 26. 5. 1927) Generally he dealt with making stone sections and reliefs of less aesthetic demand. Ha experimented witfi making pottery elements of fitting-strip, too, for a while. His stone sections were gladly applied by Samu Peez to his brickfacing facades. They worked together on five occasions. Besides Peez he worked for Oie well-known masters of late classicism inclining to baroque. On two occasions he also worked with Ignác Alpár who was very sensible to the quality of carved stone elements. MARHENKE, VILMOS (8. 5. 1842 - Budapest, 3. 3. 1915) Marhenke of Prussian birth could advance to the more modern role of the industrialist enterpreneur compared to the masters working with modest, manufacturai background. As a sculptor he had a reliable eye for proportion but he was a creator who knew his own limits. His conception represented a more contemporary style following neo-renaissance, compared to the late classicism of Schaffer and his companions who had started with him. Ha tried to solve the problem of winterkill and discolouration of the outdoor stone sculptures and sections with using glazed pottery. Presumably it led him to the serial production of pottery architectural sections as well. His supply contains various elements of standard-sections, vases, flower-pots, animal-heads, figures of caryatid and fountains. He served the conventional taste owners and architects of the neo-renaissance minded classicism. He contributed to almost every great building in the capital, Újvárosháza (New Town Hall) Opera, Bazilika, Parliament. MAYER, EDE (Vienna 1857 - Budapest, 10. 3. 1908) WiÜi an academic qualification, he was a sculptor of neo-renaissance taste without original ideas and messages. He avoided spectacular and more complicated solution, perhaps, because of his own technical limits. The almost compulsory „Bohemian" role of the contemporary artist remained strange for him as a man and an artist. He was predestined for the role „to play second fiddle" by his colourless character. His independent square-sculpture commisssion - Ybl memory - surprised his contemporaries. His