Saly Noémi (szerk.): Gorka Lívia keramikusművész (Budapest, 2010)

Kollin András: Bibliográfia

to realise itself. What is it in this recurring cycle that guides one by showing sufficient measure? For me it is literature and philosophy. They give me cheer, peace and answers.

When talking of my profession, I can hardly quote poetry or philosophise instead of getting down to work. And still - willingly or unwillingly - my hands knead into the clay the experiences once read, heard and lived through. All this occurs perhaps during the selection of colours or affects the method

of structuring the material - in transposed form. All forms of behaviour can be philosophy. My calm disquiet is born from the respect of law, according to which the order of day and night, of light and dark is eternal. For anyone who deals with clay - with earth - and who must also be familiar with fire, will eventually become a quiet respecter of the elements."47

Endnotes

1 In 1994, to mark the 100th anniversary of the birth of Géza Gorka, ceramic artist, a book was published in both Hungarian and English, in which Lívia Gorka wrote about her life and that of her father. (Három Nemzedék - "Three Generations". The Gorka Museum at Verőce. Géza Gorka, Lívia Gorka and Géza Focht, ceramic artists. Published by: F. Szelényi Ház, 1994. Foreword by: Lilla Szabó.) The truly personal confession entitled "Önagamról", „Something of Myself", is re-published in full in this Catalogue.

2 In the second half of the 1920's, Géza Gorka was also inspired by modernism. He created ceramics depicting stylised human figures in the spirit of Art Deco but different to those of the aforementioned two sculptors. A mixture of antique, archaic, classicist and art nouveau motifs can be discovered in these works.

3 The folk-naive style of ceramics represented by the work of Hajnalka Zilzer in the period between the two world wars may well be regarded as a fourth example.

4 A magyar kerámiaművészet I. Alkotók, adatok 1945-1998 - („Hungarian Ceramic Art I. Artists and Facts 1945-1998"), ed.: Katalin Keszthelyi - Ibolya Laczkó. Magyar Kerámikusok Társasaag- Képző- és Iparművészeti Lektorátus. Budapest, 1999. As a result of the cultural politics of the era, several well-known artists had no choice but to work for the Hungarian State Puppet Theatre, for example, or were only able to „show themselves" to a wider audience through illustrating books and periodicals. A similarly sad story awaited many of our writers, who wrote books for children. This is one of the reasons why Hungarian children's literature is of such a high standard.

3 „The uninterrupted history of architectural ceramics, or more correctly of mural ceramics, is only some one and a half decades long, it owes its existence and rapid development to the multi-directional requirements made on the part of architects. It has taken just this long to come from a simple, painted tile to a highly-detailed relief." György Domanovszky: Hol tart a magyar kerámiaművészet? - ("The State of Hungarian Ceramic Art Today"), Művészet, 1970., XI. 2. 21-23.

6 Adatok és adalékok a hatvanas évek művészetéhez. A Művészeti Bizottság jegyzőkönyvei 1962-1966 I-II. - („Facts and Data on the Art of the Sixties. Minutes of the Art Committee 1962-1966, I-И”) Ed.: Tibor Wehner. Képzű-és Iparművészeti Lektorátus, Budapest, 2002.

7 In the fields of art, the „Association of Artists", the „Institute for Cultural Relations" the „Art Council" and the „Art Foundation" provided the party line.

8 The issue is discussed by Katalin Keserű from a different perspective, in relation to universal applied art in the 20th and 21 st centuries, primarily on the basis of Jean Baudrillard’s study entitled „The System of Objects", published in France in 1968. „In the context of the end of the 1960's, applied art reacted in different ways to the changed world of objects, or rather, formed that in varying ways. Items were created that would be better called works of art and were hardly, if at all, usable (...].” Katalin Keserű: Néhány szó az iparművészetről - („Some words on Applied Art”). Presented at the conference entitled „The Role of Applied Art in theXX.-XX\ centuries", The Museum of Applied Art, 2002. In: Iskolakultúra, 2009. 3-4. 110-121.